Wasuremonogatari The Anime & Manga RPG (7486589)

1
andrew provencher (order #7486589)
Contents
Contents
2.4.2. Battle Skills
27
2.4.3. Magic Skills
29
2.4.4. Professional Skills
32
2.4.5. Tactical Skills
35
1. About Wa
1.1 The Do of Role-playing
1.2 What You Need
36
1.3 The Name
5 2.5. Extras
5
2.5.1 Perks
1.4 Game Themes
2.5.2 Flaws
37
1.5 The Open World
2.5.3 Equipment
37
1.6 Collaborate
1.7 Other Media
37
7 2.6. Role-Playing
7
2.6.1 Character Motivation
37
37
2. The Scroll of Laws
2.6.2 Rule of Drama
38
2.1. Overview
2.6.3 Actions
38
2.6.4 Role-playing the Dice
39
2.6.5 The Outcome
39
2.1.1 Character Based Rules

2.1.2 Level
10
2.1.3 Formulas
10 2.7. Rolling Dice

10
2.7.1 Basics
40
2.2.1 The Same Page
10
2.7.2 Zero Points
40
2.2.2 Concept
10
2.7.3 Bonuses
40
2.2.3 Story
40
2.2.4. Races
11 2.8. Combat
12
2.8.1 Turn Structure
2.2.5 Social Rank & Profession
17
2.8.2 Initiative
40
2.2.6. Factions
19
2.8.3 Attacking and Defending
41
2.2.7 Power
24
2.8.4 Taking Damage
41
2.2.8 Stats
24
2.8.5 Knock Out
42
2.2.9 Extras
25
2.8.6 Role-playing Stunts
42
25
2.8.7 Teamwork Stunts
42
2.3.1 Health
25
2.8.8 Combo Stunts
42
2.3.2 Initiative
26
2.8.9 Ki Surge
43
2.3.3 Movement
26
2.8.10 Equipment Bonuses
43
2.3.4 Reputation
26
2.8.11 Miscellaneous Bonuses
43
2.3.5 Energy
26 2.9. Out of Combat

27
2.9.1 Actions
44
27
2.9.2 Professional Skills
44
27
2.9.3 Tactical Skills
44
2.2. Character Creation
2.3. Attributes
2.3.6 Personality
2.4. Skills
2.4.1 Skill List
40
40
44
44
3.5.3 Recurring Adversaries
56
2.9.5 Attributes
44
3.5.4 Staying Fresh
56
2.9.6 Unopposed Actions
44
3.5.5 Ending the Game
57
2.9.7 Social Interactions
45
3.5.6. Adventure Seeds
57
2.9.8 Travel
45 3.6. Rules & Mechanics
58
45
3.6.1 The Golden Rule
58
2.10.1 Acquiring Experience
45
3.6.2 Calling for Skill Rolls
59
2.10.2 Using Experience Points
45
2.10.3 Recalculating Stats
46
3.6.3 Opposed and

Unopposed Rolls
59
2.10.4 Leveling Up
46
3.6.4 Taking Three
59
3.6.5 Untrained Rolls
59
3.1 Overview
47
3.6.6 Stunts and bonuses
60
3.2. Play Styles
47
3.6.7 Critical Bonuses
60
3.6.8 Using Traits
60
3.6.9 Recuperating
60
3.6.10 Giving out Experience
61
3.6.11 Beyond Enlightenment
61
2.10. Character Progression
3. The Scroll of Mastery 47
3.2.1 Hard and Fast
47
3.2.2 Meticulous Detail
47
3.2.3 The Middle Way
48
3.2.4 The Comedy
48
3.2.5 Playing Small
49
3.3. Involving the Players
49
3.3.1 Motivations
49
3.3.2 Integrating the Backgrounds
49
3.3.3 Directing Without Dictating
50
3.3.4 Rolling with the Punches
50
3.4. Antagonists
51
3.4.2 Interesting Monsters
52
3.4.3 Rivals
52
3.4.4 Anti-Villains & Anti-Heroes
53
3.4.5 True Evil
53
3.4.6 Winning and Losing
53
3.4.7 Maintaining Suspense
54
54
3.5.1 Building Plot Lines
54
3.5.2 Increasing Challenges
55
63
51
3.4.1 Believable Motives
3.5. Adventures
4 A Special Thanks
Contents
2.9.4 Magic Skills
4
1. About Wa
1.1 The Do of Roleplaying
Role-playing may be a foreign concept if youve
never done this before. If this is the case, were
excited to have you. If not, keep reading, this chapter
contains vital information about the nature of
Wasuremonogatari.
Role-playing is an activity where several people get
together to collaboratively tell a story. Generally,
theres a single person called the Game Master (or
some variation thereof) who is ostensibly in control
of the story. The others are players, who control
Characters inside the fantasy world presented by
the Game Master.
In Wasuremonogatari, the Game Master is
called simply the Master. The Masters job is to
facilitate the story.
In other games, the Game Master is the sole arbiter
of the plot and has license to goad the Players
along if necessary. In Wa, we prefer to think of it a
little differently.
It is everyones responsibility to facilitate the story.
This is not the sole province of the Master. The Players
must be active and invested as well, after all, this is
a collaborative game. The Master is not there to kill
the Players, and the Players are not there to defy the
Master. Everyone must collaborate to make the game
run smoothly.
The goal of role-playing is to enjoy telling a
dramatic, exciting, and sometimes hilarious story
with your friends. The golden rule of role-playing
is entertainment: if youre not enjoying the game,
why are you here? To this end, wed like to make
some suggestions.
Masters should do their best to enhance and expand
the story of the world and the characters in it,
not crush the life out of the Players. Sometimes,
the Players outwit the Master and foil their plans.
Masters must learn to anticipate this and be ready
for anything.
Players should likewise do their best to make the story

interesting for everyone else. Sometimes its more
interesting if your character makes a bad decision
or fails at some task. Think about anime and manga
characters. Theyre almost always being challenged
with something, even if they succeed frequently.
Everyone at the table (or couch, or dorm, or wherever)
is responsible for the enjoyment of the game. The Path
of Role-Playing is the Way of Collaboration.
1.2 What You Need

Dice are used for randomized outcomes.
Wasuremonogatari uses regular 6-sided dice
exclusively. Players may need as many as 5-6 dice for a
given roll at higher levels of play.
Characters are usually designed on a Character Sheet.
A copy of this sheet is included in the back of the
book for photocopying. Downloadable PDF Character
Sheets are available at http://wa-rpg.com.
1.3 The Name

The name of the game is pronounced, Wah-soorehmohnoh-gataree. Wasuremonogatari is a pun, which
are quite common in Japanese. It combines the words
for forgotten with story, which weve transliterated
to Lostory. Monogatari is often used to describe
the story of a person or thing, such as the Genji
Monogatari. The pun is intended as a reference to
Bakemonogatari and Katanagatari.
Wasuremonogatari is quite a mouthful, so we often
use Wa for short, which is also a reference to the
oldest recorded name for the land of Japan.
1.4 Game Themes

Wasuremonogatari is stylish. Not just in the design
of the game, but in how the game is played. Think of
the characters as the heroes and villains of an anime
or manga. They have personality, motivation,
background, traits, and depth. They ham it
5
up when they need to. They know when to
1.5 The Open World
kick in the screens, they know when to monologue,

and the know when to reveal their true powers.
Describe the action of Wasuremonogatari the
way youd see it in your favorite comic or show.
This helps the others at the table imagine your
character. It enhances the visual component, and
brings drama to the action. Draw on the scenes
you know and play to the audience: yourselves.
Wasuremonogatari isnt fundamentally about

dungeons. Or grinding. Or filler episodes.
Wasuremonogatari is about characters, and how
these characters deal with conflicts, internal and
external. Often, these characters are warriors, soldiers,
or combatants, but this need not be the case all the
time. As long as Masters and Players can provide
conflict for the characters to participate in, Wa
flourishes. Conflict is therefore the most major theme
of Wasuremonogatari. When starting a new story, the
Master and the Players should attempt to agree on a
major theme or two, in addition to conflict. As the
story progresses, more themes will invariably work
their way in naturally.
Conflict takes all forms. There is conflict between the
castes, between the Clans, between the Succession
Daimyo and the Bakufu, between the Shadow Clans
and the Shrine Association, and between martial arts
rivals. Theres also conflict in love and conflict in duty.
Depending on the direction you want your game to
take, there can also be conflict in just getting along
with each other.
The simplest and most clear conflict that comes up in
Wasuremonogatari is physical combat. Because the
world of Wa is so rife with struggle, these conflicts
occur frequently. Many of the inhabitants of Kyokutou
avoid combat, but those who do not often make good
archetypes for the Players characters.
There is a reason for much of the physical combat,
and it can be a theme in and of itself. Clan and faction
warfare has engulfed the Fallen Empire in the decades
since The Assassination of Emperor Rushiken.
Differences in ideology and lineage lead to massive
struggles for power, wars that rage across every
island of Kyokutou.
Idealogical differences also arise in the religions of
Kyokutou. The twin religions of Shindo and Chido do
not always see eye to eye despite their co-dependence,
and sects within each strive for the goals of
fractured dogmas.
Personal growth is also a theme that

occurs in Wa with some regularity. Many
people, from the lowly peasant to the highest Akahan

samurai, seek the perfection of their art. Such a desire
for perfection is ingrained in the culture of Kyokutou,
and the quest for it drives many men and women their
entire lives.
Ever since the Time of Spirits, there have been as
many (if not more) spirit residents on the islands
of Kyokutou as there have been mortal residents.
Ranging from ghostly yuurei to monstrous obake
to aloof youkai, few are purely good. Most tend
to keep to themselves, content with their own
incomprehensible struggles. Some, however, seek
mortal flesh and blood, or are sought out by mortals
for their powers. Rarely do these interactions occur
without conflict.
Romance is a complex theme, especially in fiction,
and most especially in the world of Kyokutou. While
love is hardly an unknown concept, the reasons for
marriage vary greatly between the castes, the Clans,
and the professions of those involved. Finding a way
to be close to ones love is just as much of a challenge
as mastering the art of the sword or attaining
enlightenment.
Kyokutou appears to be a very serious world, at first
glance. On the contrary, part of what keeps the people
going despite all the hardships they face is the fact
that they generally have a good sense of humor. Some
games, like some anime and manga, may focus more
on the aspect of comedy more than the themes of war
and revenge, especially for more light-hearted stories.
Once a theme for the overall story is decided, the
Players can ascribe themes to their characters as a
way of understanding the wider picture of who the
character is and who they wish to be.
1.5 The Open World

The book you now hold is only one aspect of the world
of Wasuremonogatari. Wa is what we call an Open
World, where we, the creators, offer the concepts of
the world to the consumers. In this modern climate of
intellectual property law, copyright, and lawsuits, this
can be a difficult concept to grasp. We offer this world
to you, the reader, to use as you see fit. You can write
stories in it, film movies, create flash videos, or design
video games in it if you wish. Were not licensing the
text of this book, just the fictional world and setting
described herein. You can find more information
about this in the Wasuremonogatari Wiki, available at
http://wa-rpg.com.
Role-playing is an inherently collaborative activity.

You and your friends get together to tell a story
together. While its perfectly doable to write
your own story in Wa, most of the time youll
probably be playing with others. That said, the most
important thing to remember at the table is that
you are collaborating. Even if they Masters villain
is about to win, even if there is conflict between the
Player characters, you are collaborating to tell and
exciting story.
Especially when just starting a new story, Players
should divulge their backstory to the Master, so
the Master can integrate the characters with the
storys plot. Rather than forcing the Players to design
characters around the plot, the Master and the players
should meet half-way, helping each other to fill in the
unknowns of the story.
Dont take in-game action personally. Kyokutou is a
fictional world. Try not to get bent out of shape when
your plans are foiled or your character is defeated.
Think of how characters in other media deal with
defeat. Try to turn your losses into moments of
character growth.
Try not to ruin the fun for the others. If someone
takes issue with your character or your story or
something, talk it out. Dont let misunderstandings
mess up everyones night.
Help each other. If you see an opportunity for an
interesting interaction, take it, use it, or bring it up
out-of-character. Just make sure youre not doing it so
often that youre stepping on the Masters toes; they

may have something else planned.
Give other Players opportunities as well. Try to
help the Master connect the dots. If your character
has a beautiful sister and your friend needs a love
interest, make the connection. Having the Players
characters connected helps them feel like more
than just a handful of people thrown together for
the sake of some random quest.
1.6 Collaborate
1.6 Collaborate
When designing non-player characters, the Master

should design them to act as foils for the Players,
rather than the avatars of the Master. Be wary of
stealing the spotlight too much, but likewise, dont
leave all the storys movement solely to the Players
unless theyre comfortable with that responsibility.
1.7 Other Media

Wasuremonogatari is informed by many sources.
Not all of these sources feature worlds analogous to
Wasuremonogatari, but many of them contain themes
and characters to draw inspiration from.
Anime & Manga:
Naruto
Ruroni Kenshin
Basalisk
Ninja Scroll
Utawareromono
Chronicles of the Cursed Sword
Negima (particularly the manga)
Fate/Stay Night
Bakemonogatari
Evangelion
7
1.7 Other Media
Music:
The Yoshida Brothers
Kalafina
Ensemble Nipponia
Kodo
Kiyoshi Yoshida
The Soundtrack to Akira
The Soundtracks to the Rebuild of Evangelion
The Soundtrack to The Last Samurai
8
The Soundtrack to Hero

The Soundtrack to Utawarerumono
Kawai Kenji
AVTechNO!
Supercell
Agatsuma
Yo-Yo Ma
God of Shamisen
2.1. Overview
The Scroll of Laws contains the rules needed for
players to play Wa. The majority of all rules in the
game are here, because Wa is about characters, and
thats what this scroll covers.
2.1.1 Character Based Rules

Wasuremonogatari is a storytelling game, and the
key to a good story is a good cast of characters. For
2.1. Overview
2. The Scroll of Laws

that reason, most of the rules in Wa are based
around the characters, especially the ones that the
players play. This way, you can relax and focus on
the story rather than nitpicking over the rules. Its
our goal to get out of your way so you can tell the
story you want.
In the Scroll of Laws, you will mostly find information

about the rules of the game of Wa. In the following
chapters, we will go into detail about character
creation, options, statistics, the dice rolling mechanic,
and actions in and out of combat.
9
2.1.2 Level
Level is an abstract representation of a characters
power. Level is the most important statistic in that
all the other statistics are related to it.
Most of the time, Level is used to determine how
many Points and Traits a character has.
Points are equal to ([Level] 9) + 3.
Traits are equal to [Level] 4.
The most direct influence of Level is that it is added

to the roll for every Skill, meaning that in general,
a character of higher level has an advantage on rolls
equal to the difference in Level.
Consider also that a the gap in Level between
two combatants grows, the less likely the
lower-leveled character is to succeed. At
difference of 3 or more, the lower-leveled
character has less than a 5% chance to
win in general.
2.1.3 Formulas
Wa tries to keep the math of
character stats very simple and
easy to calculate so that the
game is not bogged down
in rules minutiae. Here are
all the formulas used for
creating characters.
Level: [0 to 9]
Points: ([Level] 9) + 3
Traits: [Level] 4
Health: [Level] + [Points] + 3
Energy: [Level] + [Points]
Initiative: [Points]d6 + [Level]
Movement: [Level] + [Level] + 3
Personality: [Points]d6 + [Level]
Reputation: [Points]d6 + [Level]
Skill: [Points]d6 + [Level]
2.2. Character
Creation
This chapter goes over the phases of creating a
character. This is done at the beginning of a game,
when the Master is assembling the Players
and setting up the story.
10
Character creation is very collaborative in Wa. Its best

to do a character creation session where everyone is
present, or to do the same over a forum or email chain
so that everyone can bounce ideas off of each other.
It also helps keep everyone on the same page as far as
where the story is headed, another important part of
setting up the game.
2.2.1 The Same Page

One of the most important steps for creating a
character is getting on the same page as everyone
else. Youd probably build a different sort of character
for a game about courtly intrigue in the Akahan
Clans than you would for a game about trade and
piracy in Kinsou. Since the game is a collaborative
storytelling environment, everyone must be on the
same page. Most of the time, the Master will have an
idea of what sort of game they want to run, and will
collect information from the players to solidify this
concept. Your Master may even have a short survey
to gauge your interest in different types of
activities. Be honest but flexible, and try to
come to a consensus about where you want
the game to go with the other Players.
2.2.2 Concept
This is the most basic part of character
creation. If youre asked what kind of
character do you want to play? and
you respond in a sentence, that
sentence is probably your character
concept. Concepts are often short
and
sweet. They can be clear and simple
or mysterious and evocative. The point is to
have some central idea to start evolving your
character around. Your character will grow as
you explore them and answer more questions,
and they may even change drastically from the
initial concept, but all that matters is that you
have a starting point you like and you think
youll enjoy role-playing. How you get to that
point is up to you. You can just pull one out of
your head, or you can collaborate with your fellow
Players and the Master to craft an idea that meshes
well with others. Its recommended that you take
into account at least the basic idea of the story the
Master is going to tell, so that your character isnt lost
for things to do to move the story along. Likewise,
help your Master out by talking with them about your
character concept before nailing it down.
One way is to start with internal conflict. Try taking

one faction or allegiance and mash it together with
another, or try the same thing with a couple of
character tropes or professions. Contrast often helps
build a character, because as much as the Master
will try to give you external conflicts to resolve, its
often just as interesting to have internal conflicts to
resolve as well.
Another way is to take a character idea youve seen in
some other media and re-imagine that character with
some major change to the core of what makes that
character tick. Try changing a single attribute of the
characters personality and consider how the character
changes because of that.
You can also generate ideas by reading the
background material for the world, looking for
places where characters might fit. The bystander of
one story could well be the hero of another, and that
could be you.
You could also just sit down and discuss the ideas for
the campaign with the Master and the other Players.
They might have an idea for a relationship, ally, or
rival already thought up.
Or, the party might be lacking skill in an area you

might be interested in.
Here are some sample character concepts.
Kitsune Reijin ninja daoist
Ningen Tohana-clan samurai swordsman
Hanjin Ginrei Bakufu warrior-diplomat
Okami Hanjin wolf-spirit ashigaru
Ningen Matsuyori-clan pirate
Obake metalsmith serving the
Court of the Kami
Sometimes, youre just at a loss for where to begin.

This happens to the best of us; maybe youre
overwhelmed with the possibilities and options, or
maybe youre afraid youll steal someones idea. Just
remember that as long as you have an idea, you can
change it however you want. Heres a few ways to
prompt some character concept ideas.
Once youve got a basic idea, a character concept,

you can start elaborating on it.
2.2.3 Story
A characters Story is the collected information about
that persons life, like a superset of their backstory.
Once youve got a concept, you can start to build on
that concept and crafting your characters personal
backstory, history, goals, aspirations, personality,
fears, flaws, quirks, and all the other little details that
make a character fun to role-play.
There are two main ways of coming up with these
details: the introspective way and the collaborative
way. Youll probably end up using both since they
excel at generating different types of details.
The introspective way is good for discovering
the
11
characters personality and thoughts. It involves

asking yourself a number of questions about the
character. These are often reactions to situations,
such as how would the character react to seeing
the shoguns retinue in the street? Or they may be
more emotionally directed, such as what does the
character think of their peers? These questions
help you consider the characters thoughts,
personality, and behavior. The goal here is to
generate details and challenge you to think more
about the deeper parts of the character that might
not have occurred to you yet.
There is no fixed list of questions to use in the

Introspective Way, but here are some sample questions
to consider. We encourage you to come up with your
own, or ask the Master for some.
What does the character think about the
Succession Wars?
What does the character want to do with their life?
What does the character regret?
What does the character fear?
How is the character different in public and private?
What is the characters romantic life like?
What would other people say about the character?
How does the character feel about fighting?
What would it take to get the character to go on
an adventure?
Who does the character want to protect?
Who does the character hate?
On the other hand, the collaborative way is good
for figuring out how the character interacts with
others and what has happened to them in the past.
It involves discussing situations and events with the
Master and the other players. It also helps players
make their characters unique because they can hear
the responses of others and tailor their character to fit
with them. The Master should encourage discussion
by prompting the group with questions about recent
events, tidbits from the games story hook, and
hypothetical situations the characters might find
themselves faced with.
Much of the collaborative way revolves around a
dialog between the Master and the Player about
integrating the character into the story. The Master
is the focal point for this, collecting the stories and
backgrounds of the players characters and organizing
and manipulating them into a cohesive plot. This
is the essence of the collaborative way, because the
Master and the players both must be flexible and
help each other craft an interesting story. Players
should give the Master as many plot hooks
into their character as possible, and the
12
Master should strive to formulate a game that all the

players will enjoy.
One of the most important aspects of this is having
characters who are well integrated into the story at
the very beginning. Its much easier to get into the
game when theres no tavern scene where adventurers
meet to go on a quest, thus breaking the suspension
of disbelief from the very beginning. To avoid such
awkward scenes of meeting, its best to have everyone
related somehow, at least in a way that lets the Master
introduce them with some interest and familiarity.
The Players can help this by giving the Master
as many hooks or empty slots for relationships
as possible. These hooks can be as simple as My
character is married, to a whole character concept for
a relationship, to a detailed non-player character that
theyre related to in some way. These need not be the
other Players characters themselves, but can act as the
relationship bridges between the Players.
2.2.4. Races
Though there are literally thousands of different races,
species, types, categories, and classifications of people
in Kyokutou, there are only ten major classifications
needed to describe the vast majority of those subgroups. These are treated as individual races despite
their factious, chaotic nature. Indeed, some rei appear
to be nothing more than ningen, while some yajuu
disguise themselves as kami. Things are often not
what they seem, especially in the world of spirits.
It should also be noted that while all of the listed races
can produce offspring together, the Mortal Races most
often intermarry, and while marriages between the
same race tend to preserve the power of a races blood,
mixing of the races usually results in ningen offspring
within a few generations. For this reason, racial and
familial purity is important to the Clans, especially at
the higher echelons.
The mortal races are most appropriate for players
characters, though it can be interesting to have a story
that includes a rei or youkai that is hiding its true
form. The Master has the right to restrict Players to
the mortal races if having an immortal in the group
would interfere with the story.
2.2.4.1 Ningen
The largest mortal race, the ningen are what we would
consider normal humans. Though there are many
non-human races and people in Kyokutou, ningen
are more numerous and visible than those groups.

They owe their overwhelming numbers to mixing
between the reijin and hanjin races back during the
Foundation Era, when the First Empire was coming
into power. As the spirit-peoples mixed, grew, and
spread, they slowly lost their spiritual power, leading
to the relatively mundane people of today.
Ningen have round, hairless ears on the sides of their
heads, smallish noses, generally hairless bodies, and
no extra limbs besides their arms and legs. They
possess little spiritual power and are comparatively
short-lived. Their hair and eye colors range over the
entire spectrum, hinting at their ancient heritage, but
tend towards earth tones.
2.2.4.2 Hanjin
Literally, hanjin means half-person though
determining which half is what is sometimes difficult.
Hanjin are the second most personally powerful race
of Mortals, descended from the rei and the beasts of
the Ancient Times. Hanjin look much like their reijin
cousins, but are somewhat less spiritually endowed
and usually more physically impressive, particularly
compared to ningen.
Ningen are seen by the other races as a sort of ultimate

muddying of the waters. Ningen themselves often look
at their race as the neutral middle-ground, where
stability and steadfastness are key.
Due to the spiritual nature of the social system of
Kyokutou, ningen are generally lower in social class
than the mortal races retaining spiritual power.
Paradoxically, after the Shinru Reformation, in which
an ancient Emperor exiled the disorderly spirits from
Kyokutou, the ningen have risen to all levels of society.
13
There is a concept called the Spiritual Divide

between the hanjin & reijin, and the Ningen.
Because of this divide, the Ningen see very little
difference between the Hanjin and the Reijin,
considering them both to be spirit people capable
of amazing feats and possessed of fell powers.
The majority of ningen look upon the hanjin with
fearful respect.
In truth, the term hanjin dates back to their origin,

relating to their half-spirit status as offspring of
mortal (though immensely long-lived) beasts, and
the immortal rei. It is said that they sacrificed their
spiritual awareness for the physical prowess needed to
survive in the wilderness of early Kyokutou.
Because of their mixed heritage, individual hanjin
bear little resemblance to one another. They are
loosely categorized into tribes relating to their
physical features, with the most populous groups
being the Cat, Dog, Tiger, and Rabbit tribes. Some of
the more rare tribes are the Wolf, Dragon, Phoenix,
and Fox tribes. Hanjin often have long,
furred or feathered ears that either
sit upright or hang down from their
heads. Hanjin almost always have
tails, and some have feral limbs,
claws or talons. Most have fangs.
Hanjin personalities are often more
boisterous and rowdy than the
Ningen or Reijin, and they are
sometimes seen as animalistic,
bestial, or barbarous by the
others, especially the reijin.
2.2.4.3 Reijin
The enigmatic reijin are
the most powerful of the
Mortal Races. They have
the closest heritage to the
rei, the spirit people who
once inhabited the land
of Kyokutou. Their deep
connection to the Spirit
World and their personal
power makes them feared
and respected by all other
mortal people. Reijin are
often found at the upper
echelons of society,
occupying
positions of
great power
14
and importance. They are long lived and tend to be

more wise than their mortal cousins.
The reijin are physically chaotic and hard to
categorize. They are similar in many respects to
their ancestors, the rei, often displaying powers and
appearances relating to their spiritual theme. Just
as there are elemental rei, there are elemental reijin,
just as there are bestial rei, there are bestial reijin,
and so on. Some reijin appear as little more than
spiritually powerful ningen, while others are nearly
rei incarnations of archetypal kami, such as Ryuu,
Kitsune, Bakeneko, or Kyuuketsuki. Most of the
time, these spiritual themes are passed on between
generations, leading to spiritual family groups that
resemble hanjin tribes.
Reijin are often considered aloof because of their
long lifespans. They are often monks, priests, or
other types of spiritualists, or at the very least highranking samurai who can use their spiritual powers in
combat. Paradoxically, they are also known for being
passionate and emotional beings, occasionally
subject to propensities that match their
spiritual themes.
2.2.4.4 Yuurei
Yuurei, also known as
ghosts, are the first rank of
Immortal spirits. The range
greatly in individual power,
with some as weak as a ningen
child and some more powerful
than a master priest. Yuurei are
mysterious entities that rarely
interfere with mortal life.
Yuurei are actually a number of distinct
types of spirit. Some are the spirits of dead mortals,
trapped in the Spirit World and unable to ascend
to the High Heavenly Plain. Others are fabricated
entities that were brought into being by spells and
powers gone awry. Others still are remnants of
the ancient rei, split from their bodies when the
reijin were formed.
The tying theme of yuurei types is that
they are generally incorporeal at
least part of the time. Some
types, like shikigami, are
capable of changing between
forms at will, while others, like
hitodama, are stuck with ghostly bodies.
Because the other types of spirit are so esoteric,

mysterious, and rare, most of the time when a mortal
encounters something fearful and inexplicable, they
blame a yuurei for the phenomenon, and occasionally,
they are right.
2.2.4.5 Rei
The rei are one of the most mysterious races of
Kyokutou. Most spiritual entities that interfere in the
lives of mortals are of the yuurei, obake, or youkai
varieties. While the kami are revered and the oni
despised, the rei are largely unknown to the Mortal
Races. They occupy a domain between the Mortal
World and the High Heavenly Plain, where they
need not interact with the Mortal World for any
reason. When they do, they do so for honor, duty, or
personal reasons.
The rei are substantially more powerful than the
yuurei, and their powers and forms are often very
reminiscent of the kami themselves. Wise priests
claim that rei are analogous to ningen in the Spirit
World, forming the bulk of the population of spirits.
Only a fraction of the Spirit World is explored and
understood by Mortals, and the rei inhabit the parts
not yet reached.
Rei come in a vast array of forms but they are usually
related to the basic body-plan of the ningen. They
often sport multiple tails, wings, horns, long ears,
spines, claws, and powerful auras. Many have strange
features somehow related to their powers and desires,
such as fiery eyes or icy talons. They seem to wear
their hair long and dress in clothes so fine they would
be seen as royalty in the Mortal World.
Youkai are strange, fell creatures with almost

as many forms as there are individuals. Many
are somewhat humanoid, others are shaped like
gargantuan, god-like versions of powerful beasts,
and others are completely unique. Many of the
most famous spiritual entities originate from
youkai, such as nine-tailed foxes, dragons, tigers,
phoenixes, great snakes, hawks, and others.
Yuurei existence is a complex, trying one. By

definition, yuurei are trapped between the Mortal
World and the Spirit World. Depending on the power
of the individual, some are able to lead pleasant lives
while others are bound to a place for an eternity
of suffering.
It is said that when the kami were broken into

pieces during The Time of Shattered Rei, the
youkai were formed from the largest shards of the
gods, often taking one of their many forms.
Youkai are known for being very intelligent, cunning,

and violent in personality. They do not like the
Shinru Reform as it has severely hampered their
ability to feed on the spiritual power of the Mortal
World. Though they usually care little for the lives of
mortals, they sometimes form bonds with them, for
better or worse.
2.2.4.7 Kami
The kami, or gods, are the most powerful class of
beings in existence. They are the descendants of the
original creators of the world, and they have such
incredible powers that they often have domain over
an entire sphere of influence, such as war, peace,
suffering, purity, wealth, or food.
The kami are revered and worshiped by mortals,
often in exchange for blessings or boons. They are
not absentee, but they do not interfere in the lives
of mortals often, usually content to oversee things
from a distance.
There are two distinct populations of kami, those who
live in the Mortal and Spirit Worlds, and those who
2.2.4.6 Youkai
Supposedly descended from the Kami in the ancient
days before time began, the youkai are powerful
spirits with commanding abilities and diverse,
passionate personalities. They are some of the most
dangerous entities a mortal can encounter, heedless of
mortal power, laws, and society. While the rei prefer to
remain in the Spirit World, youkai are more often seen
in the Mortal World, where they tend to feed.
15
live beyond the Veils on the High Heavenly Plain,

or in the depths of Yomi. In general, the Gods of
the Earth pay fealty to the Gods of the Heavens.
Many of both types have places in the Court of
the Kami, a sort of grand spiritual council that
directs the cosmos.
2.2.4.8 Obake
Obake means
transformation, and so
the creatures bearing
this label are often
known for their ability
to transform, or
strange, transformed
appearances. Current
understanding in
Kyokutou classifies
them as lesser
demons, related
both to the rei
and the beasts.
Chaotic in appearance,
many obake shapeshift
between two or more forms. Others are permanently
transformed into grotesque mockeries of their
original shapes. They often have wide maws full
of sharp teeth or fangs, lumpy, squirmy flesh, and
disproportionate bodies.
Though it appears that they are not all evil, most are
vicious tricksters who delight in torturing others. Th
power of an individual obake is usually correlated
with how dangerous their behavior is: filth-lickers
tend to be relatively weak and can be scared away
with a broom, while soul-eaters tend are usually very
powerful and hard to get rid of.
Because of their behavior, they are seen as a blight on
the land of Kyokutou. They were even more prevalent
in the days of the Reestablishment Era, and their
antics eventually lead to the Shinru Reform and the
banishing of the spirits of the land.
Though some obake live in or travel through the Spirit
World, they are mostly a phenomenon of the Mortal
World, where they live and feed off the torment they
cause on others. It is believed that Yomi is densely
populated with obake.
16
2.2.4.9 Oni
Oni are the most powerful demons that the Mortal
World is generally aware of. They are usually
bulky, large humanoids with powerful features and
impenetrable skin ranging from deep reds, to blues,
and even greens. They are vicious, savage creatures
when interacting with others, but they are not
unintelligent and can be reasoned with by very, very
skilled mortals or other powerful spirits.
Oni are one of the most visually similar groups of
spiritual entities. They are generally classified by color,
which seems to relate to their personalities. Red oni
tend to be ferocious and aggressive, while blue oni are
usually cold and calculating. Purple oni are usually a
combination of both, but are terrifyingly intelligent.
Green oni are conniving, lying, cheating creatures
that are usually smaller than their counterparts.
Despite their propensity for attacking mortals and
spirits on sight, some priests and monks claim
that they are not evil, exactly. They believe that
the oni represent the ultimate loss of self-control,
a branch of the spiritual tree where the passion of
supernatural entities has completely taken over the
mind. Even so, when an oni is encountered, it almost
always means havoc.
Because of their violent nature, most mortals fear
and hate them, though some warriors respect them
and style themselves after their power and
ferocity. A rare few even
have the courage to
2.2.4.10 Yajuu
Hidden in the deepest, darkest recesses of the secret
world of Kyokutou, there are a handful of men and
women who speak in hushed tones about dark gods
with the ability to unmake the world. These dark gods
are called the yajuu and it is taboo to even utter their
names aloud or to inscribe them on a surface.
Yajuu are so dangerous and so powerful that none are
known to exist alive and free in the Mortal World.
The ones that do exist there are locked away in ancient
graves created by the powerful supernatural monks
of the Court of the Kami. Others slumber in severed
bubbles of the Spirit World, inside great cages of
energy, where their corruption can damage less of
the universe.
Despite their slumber, the yajuu are restless. They
desire to return to the worlds and devour them whole.
Pieces of them sometimes escape like dew on the side
of a cold glass, only to wreak havoc in whatever world
they find themselves in.
Above the heimin are the saikushi, the class of

craftsmen an artisans. They create tools and
objects of art for the more wealthy castes and
are now valued more than the heimin because of
their skills.
hunt them, to protect the land of Kyokutou from their

violent outbursts.
Next are the chounin, the social caste of

merchants, traders, and marketeers. During the
Empire, they were seen as filling an unimportant
role in society, merely exchanging goods between
those who created them and those who needed
them. Now, they are one of the most powerful
classes of people, and their power is still growing.
Because they act outside the boundaries of the Clans,
they often operate in large organizations that trade
across the entire length of the land. They make up just
15% of the population, but they are rapidly growing.
The songou are a dwindling class of people who bear
honorary titles but are not members of the Clans.
These titles are hereditary and are often related to the
deeds or skills of their ancestors, in whos footsteps
many members follow. The songou titles were given
by the Imperial Family before the Assassination of
Emperor Rushiken and the fall of the Empire, so no
new titles have been granted for the last fifty years.
The songou make up less than 1% of the population.
2.2.5 Social Rank &

Profession
Kyokutou is a land of strict social convention.
Lifestyles, professions, and relationships are all
directed by ones social standing. This standing is
usually divided into nine ranks.
The lowest social rank are called the dorei. They
are slaves and serfs and comprise about 5% of the
population. Most people are made into dorei from
higher castes, either as captured prisoners, punished
criminals, or by human traffickers. Because there
are few ways for dorei to rise in social standing,
the children of dorei are usually considered dorei
themselves, causing this bleak group of people to
expand greatly in the wake of fall of the Empire.
The next rank are the heimin, the peasants and
farmers of Kyokutou. Before the fall of the Empire,
they were considered a higher rank than the
merchants and craftsmen because it was their
fields that provided for the country. Now, with the
Succession War driving constant political change,
the heimin are considered lowly, despite the fact
that they make up more than 40% of the population
of the islands.
17
They are mostly craftspeople, artist, soldiers, or

servants of some skill.
The Kyuuhan, or Nine Clans, are a collection of
large samurai houses that are divided into three
main groups. The lowest group are the Hirokihan,
or Purple Clans, among which are the draconic
Ryuuka, the stout Tetsukabe, the ferocious Taiken,
and the arboreal Matsuyori. These are the youngest
clans, but in the modern age, they are some of the
most active and powerful.
The Akahan, or Red Clans, are the next rank

up, comprised of older clans. They are the patient
Haname, the spiritual Kojigen, and the Tohana
sword experts. The Akahan have been targeted by
the younger Hirokihan clans because of their deeper
connections to the old Empire, though they are
still strong.
The Kinhan, or Gold Clans, have been hunted, exiled,
and persecuted for the last five decades for their
close relationship to the Imperial Throne. It is widely
known that any member of the Kinhan would be
considered a higher ranked heir to the throne, and for
that reason the Hirokihan have hunted them to near
18
extinction. The Kinrei clan are known for their magic

and spiritual powers, while the Ginsai clan are known
for their wisdom, insight, and strategy.
Above the Kyuuhan would sit the highest rank,
the Koutou, or Imperial Family, comprised of the
legendary Hakuren clan. Unfortunately, the Hakuren
clan have been systematically destroyed by the
Daimyo of the Succession Wars in an effort to gain
the throne. There are now no living members of the
Hakuren clan or the Koutou, though distant relatives
show up from time to time in the Kinhan before they
too are sought out for assassination.
While the lower social ranks (dorei, heimin, saikushi,
and chounin) are all based on types of professions,
members of the Kinhan have many different types
of jobs. Some are samurai warriors, others retainers
of higher-ranked members, others still politicians
or councilmen who direct the affairs of the clans.
Because each clan is essentially self-contained,
members of a clan can end up in almost any sort of
profession needed in support of the Succession War.
The microcosm of clan life revolves around Head
and Branch type families, with the less-glamorous
2.2.6. Factions
War, a period when many clanless and common

people were given honorary titles and family
names. The Shrine Association and the Temple
Association both contribute many members, as the
Emperor was vested with divine power.
professions going to the families of lower stature.

Despite this, there is much room for social climbing
in the clans.
Though most people of the land of Kyokutou owe

their allegiance to their family and social rank, many
are part of organizations that transcend the normal
social boundaries.
The title of Shogun is given to the highest ranking

member of the Bakufu, provided they are fit and
able to lead military action. The Shogun is assigned
the (somewhat hypothetical) duty of leading the
Empire in the absence of the Emperor.
These organizations are useful for bringing together a

team of people with vastly different backgrounds, as
they often have need of small groups of people with
specific skill sets. This makes factions (or alliances
of factions) excellent places to start when building a
party of characters.
The incumbent Shogun is Minato Narikaji, a

Kinrei branch family successor. He leads the Bakufu
with a policy of non-involvement and parallel
asymmetrical warfare, subverting the plans of the
Clans against each other and relying heavily on the
common masses and their religious connections.
2.2.6.1 The Bakufu

The Bakufu of Kyokutou is a military
organization that is not based on the Clan
system. The organization pays fealty to
The Emperor only and has been acting
in his stead since The Assassination
50 years ago.
The Bakufu doctrine is that the clans
should not take power, and that
instead, the rightful successor
to Emperor Rushiken
should be crowned. They
use their military power
to oppose Daimyo who
are clearly corrupt and
have been known to
plot assassinations
against leaders they
deem to be unworthy.
On the other hand,
they are also the
primary supporters
of the Kinrei and
Ginsai Clans, who
are currently the most
likely candidates for the
True Successor.
The Bakufu accepts
members from any caste,
class, race, creed, clan, or
position. Many of the members
are descendants of minor houses
founded during The Century
The Bakufu has few lands that it solely controls.

Instead, it thrives in the crevices left by the
Kyuuhan. It operates in semi-secrecy,
occasionally lending aid to Daimyo when it
will lead to peace. Because of this dispersed,
amorphous structure, agents of the Bakufu
are trained to operate in cells that follow
the will of the Shogun. They receive orders
infrequently and conduct their missions by
following doctrine and teachings.
2.2.6.2 The Succession

Daimyo
Though not a specific faction,
there is a separation between
the Succession Daimyo and the
daimyo not actively fighting
the Succession War. The
Succession Diamyo are the
leaders of the Tetsukabe,
Taiken, Ryuuka, and
Matsuyori clans. while
the Tohana, Kojigen, and
Haname clans do not
actively participate, they
are frequently forced to
protect their borders, and
so the War reaches every
nation in the land in some
way or another.
The Succession Daimyo are
seen by the peasants,
farmers, and lower
classes as tyrants and
19
dictators, happy to sacrifice millions of lives for

their own gain. Though many common folk feel
that the Succession Wars are unnecessary, they
dare not speak of it.
2.2.6.3 The Shrine Association
Throughout history there have been many

organizations acting as intermediaries between
the The Spirit World and the The Mortal World.
The most recent of these is called the Shrine
Association. This organization was founded
during the Reestablishment Era by Emperor Gaisen
and continues to conduct affairs among the Shindoist
faith across borders and clan boundaries. Though
The Assassination caused great upheaval, the Shrine
Association continues to offer it services and enforce
age-old principles on the various shrines of the
land of Kyokutou.
2.2.6.4 The Temple Association

The Enlightened Path is by definition a difficult one
to walk. The Temple Association exists to help
others along the path. It is formed by a number
of independent temples, monasteries, abbeys,
libraries, and cloisters which send representatives
to several levels of closed council. These
councils operate on local, territory, and
regional levels, providing a strong guiding
hand for the Chido faith.
Because of the various complexities and
intricacies of the Chido faith and its many
branches, there are numerous sub-councils
and hidden sects that fall into a gray area of
the Temple Associations jurisdiction.
Though there is no central place of leadership,
the city of Waradate is a de facto gathering
place for councils and meetings.
2.2.6.5 Kurosuuhai
Practitioners of Kurodo, or The Path of
Darkness, the Black Cult is a loosely associated
group of cells that operate counter to the Shrine
Association, the Temple Association, the Bakufu
and any remnants of The Empire. Their goals
are complex and inscrutable but they tend
to focus their efforts on destroying the
current establishment and releasing fell
powers. They are known as powerful
20
magicians and are rarely spoken of out of fear. Many

superstitions surround them and their dark powers.
2.2.6.6 The Senkei Hermits

While not governed by any sort of overarching group,
the Senkei Hermits generally operate in the same
sort of fashion, no matter where they are found.
They are typically venerable, wise, powerful, and
deeply knowledgeable in Shindo, Chido, Onmyodo
and other mystical arts. They are often powerful
martial artists as well. The status of Senkei Hermit
is one that is largely bestowed by public perception;
if one is a powerful old hermit living on a mountain
with a wealth of knowledge and a poor attitude
towards visitors, one will probably be considered a
Senkei Hermit.
2.2.6.7 The Shadow Clans

The Shadow Clans are families and houses disgraced,
fallen, or exiled from society. Most Shadow Clans bear
some singular shame, though a few have been branded
based on collective deeds and behavior. Speaking of
any one of the Shadow Clans is taboo. It is a desperate
daimyo indeed who contracts a member of one of
these secret, cryptic groups.
The Dachiro clan is a family of ninja who remained
at the Imperial Capital of Hakusuke even after it was
destroyed. They live among the ruins, helping the
destitute and homeless who still reside there.
The Fuukabe clan were known for their skill at
creating spiritual barriers, but they were branded
because one of their greatest seals broke, releasing a
terrible god-like spirit into the world once again.
The Naonaga were likewise great sealers of spirits and
demons, who took the dishonor upon themselves to
seal up a ravenous great dragon kami in Kouyu.
The Shisai were experts in the Chido Path of
Enlightenment, but they were destroyed when
a daimyo learned of their skill in the Dark
Path of Kurodo.
The Taiyuri family, and more specifically the
Yuritachigumi (or Lily Sword Group) were known
for being experts in both the sword and the scroll,
but they were systematically suppressed by the
Succession Daimyo for investigating the assassinations
of the heirs.
Two of the most infamous Shadow Clans are
considered to be extinct: the blood-splattered Satsui
ninja clan, and the wielders of the Cursed Eye, the
Datenshime clan. Many others have been lost to the
centuries as they died out.
2.2.6.8 Ghost Hunters

The term Ghost Hunter or Reishi is applied to many
travelers who have one or more of the following traits
Travels in search of demons, oni, obake, or other
evil spirits
Hired to resolve spiritual conflicts, by force,

guile, or spiritual power
Utilizes Shindo or Chido for purposes outside
normal day-to-day upkeep of a temple or shrine
Has skill in Onmyodo
Operates under the direction of spirits in
mortal affairs
Often, by the general populace, anyone with
moderate skill in the mystical arts outside of a
temple or shrine (the socially acceptable place for
such skills) is considered a Reishi, and they are
usually feared for their powers. This fear dates
back to The Shinru Reform, when Emperor Shinru
banished the unruly spirits from the Empire.
Senkei Hermits are generally created by a long, hard

life of fighting and philosophy, dabbling in many arts,
and the seeking of truth. It is their great wisdom and
knowledge that leads them to cloister themselves in
the mountains.
Reishi are often employed in secret by the Kyuuhan,

the Shrine Association, and other Factions for their
tactical advantages.
2.2.6.9 The Royal Guard

Before The Empire fell, the Royal Guard comprised
a large portion of Hakusuke, the imperial capital.
In the five decades since The Assassination they
have devoted themselves to solving the mystery of
Rushikens Killer. They operate outside the Bakufu,
members often belong to both organizations. There
is some contention among them about whether they
should continue to pursue the Killer, or if they should
align their operations with the Bakufu to better
protect potential heirs.
2.2.6.10 The Fishing Guild

Kyokutou has long depended on the ocean and the
sea for its main food source. The Fishing Guild arose
in the wake of The Assassination to fill a gap in the
administration of the proper usage of the seas. They
are now one of the most powerful factions of nonroyal, non-military people in the land.
2.2.6.11 The Counter-Reform

Movement
This group of factious cells seeks to lift the spell that
Emperor Shinru placed on Kyokutou in order to
control the spirits. Most members have some spiritual
power, and many have some sort of spiritual ancestor
or heritage. Others consider the treatment of spirits
in the modern world to be immoral and wrong, while
others still believe that there is much favor to
gain by releasing the spirits.
21
2.2.6.12 The Inner Garden

The Inner Garden is a sort of secret
service branch of the Bakufu. Their
agents often take positions protecting
potential imperial heirs, furthering
Bakufu policies in secret, or removing
threats to the Empire.
2.2.6.13 The Kaminzoku
The Kaminzoku are descendants from a

powerful tribe that lived in the Kachou area at
the end of The Foundation Era. They worship
a single fire deity that dwells in the highest
mountains of Northern Kachou in the
caldera of an ever-active volcano. They
are known for their fierce, stubborn, fiery
dispositions and their extreme skills
at martial arts. They have a culture all
their own that has slowly borrowed more
and more from Kyokutou culture over
the centuries.
2.2.6.14 The Kachou Militia

The Kachou Militia proudly counts its years
back to The Court of Flowers, when they
began protecting their Kaminzoku brethren
from the obake and spirits, thus they are older
than the Kojigen Clan, in a sense. Since their
founding, the order has lapsed several times
and been resurrected just as many, often by
Kaminzoku people.
The modern Kachou Militia is more politically
charged and consists of fewer Kaminzoku native
people than it used to. Nowadays it focuses its efforts
on keeping Kachou safe from the depredations of the
Kyuuhan. It is allied with the Kojigen clan, whom they
share lands with, but operates separately. Membership
is seen as a badge of great honor among people from
Kachou, and even a fair number of members of the
Kojigen Clan have served in the militia.
2.2.6.15 The Waradate Mercenary

Army
Kachou is one of the most politically flexible countries
in Kyokutou. Not only is it home to the Kojigen clan,
The Kachou Militia, and the self-governing
Kaminzoku people, but its capital city is also
22
host to a powerful independent army, The

Waradate Mercenary Army.
This army serves any faction, clan, or
country so long as they meet the following
restrictions:
Under no circumstances does the
Waradate Mercenary Army stand against
Kachou interests
The
Army will not interfere with Souhitojima

The
Army will not attack regions or territories

that were not part of The Empire before The
Assassination
The Army will always accept surrenders
from practitioners of Chido
The Army will never engage in combat
against another branch of itself
The Waradate Mercenary Army is
composed mostly of well-trained
warrior-monks, ashigaru, archers, and
specialized Chido monks.
2.2.6.16 The Kuretake

Mercenary Fleet
Based in the free port and martial arts
metropolis of Kuretake, this large fleet of
ships sails under its own flag. It is known for
getting involved in old clan disputes, routinely
siding with past allies. The Fleet is quite strong
compared to what most of the clans of the
Kyuuhan can field, and thus its presence is
seen as a sure bet in a sea battle.
Members of the Fleet must go through a rigorous
set of challenges and trials, and it is said that any
individual member of the fleet is a marine skilled
enough to take on a squad of land-based swordsmen
alone, though this is probably exaggerated.
2.2.6.17 The Blue Wave Group

A ninja group from Souhitojima, the Blue Wave
Group is archetypal of ninja groups from the island,
though it is one of the largest. Like most groups on the
island, The Blue Wave Group takes jobs on contract
from other factions, clans, and groups, carefully
balancing their assets against other operations in
progress. Seeing themselves as above the political
turmoil of The Succession Wars, they take jobs from
high bidders and sell their allegiance back and forth
all the time. They also occasionally sell willing agents
on long-term contracts, netting them large profits
Ironically, The Blue Wave Group is also seen by the

Clan-based ninja agents and shinobi as the antithesis
of everything it means to be a ninja. These ninja
believe that the true path of the Shinobi (and the path
of the Samurai in general) is to serve a single master,
to the exclusion of all else. This contention is the root
cause of many a ninja battle.
2.2.6.18 The Dokubari Ninja

In contrast to the Blue Wave Group, the Dokubari are
a faction of ninja and shinobi that trade exclusively
on favors and political maneuvering. Members serve
the group and the group serves some secret patron,
though because of the system of cells used, no one
is sure who the patron actually is. Based around the
concept of trusting ones superiors, the Dokubari
are very hard to track, locate, or anticipate. Their
members are often very skilled in poisons and
medicines, preferring guile to out-and-out combat.
2.2.6.19 The Kuusei Fleet

The Western Island of Kuusei is slightly closer to the
Northern Kingdoms than Dokokus western island.
In contrast to the relationship between Kinsou and
the Southern Kingdoms, the one between Kuusei
and the Northern Kingdoms is one of trade and
peace. The Kuusei Fleet serves this relationship in
two ways: they promote trade, ferrying goods from
Sakimon to Hangudoshi and back, and they police
the northwestern waters to protect the trade route
from pirates, be they from the Southern Kingdoms,
the borderlands between the Kingdoms, or even
from Kyokutou. The majority of the members of
the Kuusei Fleet are fluent in the tongue of the
Northern Kingdoms.
2.2.6.20 The Kinsou Raiders

Unlike the Kuusei Fleet to the far north, The Kinsou
Raiders prey upon the massive trade route between
the Southern Kingdoms and Kyokutou as pirates.
Because Kinsou is currently under the confirmed
jurisdiction of no Clan, the pirates are relatively free
to come and go as they please. They make port along
the coasts of Kinsou, in the deeper, recessed coves and
bays of the western side of the island. Though the

Southern Kingdoms sometimes send war fleets
to protect their cargo, the Kinsou Raiders have
made a good deal of money profiteering from the
trade route. The specifics of a given raid are left to
the captains of the ships involved, but generally
it is seen as favorable to take a Kingdom ship
with no casualties, as this prevents the buildup of
military forces along the trade route. The Kinsou
Raiders rarely steal from Kyokutou ships, so as not
to displease the Sea Youkai or Dragons that live
in the waters.
at the expense of effectively losing a member. Their

membership is so large that numerous spymasters
are needed to keep track of operations and agents
across every country in Kyokutou. Their agents are
embedded in every organization in the land.
The Kinsou Raiders have strange relationship with

the Youkai known as Kaizokuhime. They fear the
power of her own pirate ship and pay her fealty, but
she is known to appear among them for her own
amusement, so they speak of her in the highest praise
as though she might be present.
2.2.6.21 The Damtsushima Yojimbo

Damatsushima is one of the most contested territories
in all of Kyokutou. It has been battled over and
trampled by the Tetsukabe, Matsuyori, and Ryuuka
clans so frequently in The Succession Wars that it
is now little more than a flat plane of dirt and stone
between North and South Mokutomo.
People once lived on Damatsushima, and the islands
fate was not their choice. Over the years, they hired
more and more soldiers to protect them, and now
they are known as the Damatushima Yojimbo. These
powerful soldiers are nearly-permanent residents of
the island and they live to protect the island from any
sort of Clan incursion. Some of the most powerful
fighters in the world have gathered here for this
cause, leading to an ever-increasing war of power
and attrition.
2.2.6.22 The Ganeda Freedom

Fighters
Kinsou is contested by the Ryuuka and the Tohana
clans, in an abstract, distant sort of conflict. The
Ganeda Freedom Fighters present a third side to the
conflict, preventing either of the clans from gaining
the upper hand. They seek to keep the island free
of Clan influence, where capitalism thrives and
merchants are king. Strangely, the Bakufu has a policy
of backing them, indicating that there may be a more
political side to the Freedom Fighters fight.
23
2.2.7 Power
The next step in character creation

is largely determined by the Master,
but involves a lot of feedback from
the Players. To determine what
power level the characters are, the
Master will assess the challenges
discussed for the game, the
perceived power of the
characters, and where they
expect the story to go.
From this, the Master will
declare a group Level that
the characters will start at.
Level 9
Level 3
Level 1
Level 6
In Wa, the Levels of

power are fewer and
more meaningful than in
other role-playing games.
They range from 0-9,
with Level 0 representing
animals, some ghosts and
spirits, and other small
creatures, and Level 9
representing the entities who
have attained enlightenment.
The bulk of the human
population are Level 1, with
soldiers, magicians, monks,
priests, and other powerful
sorts of people taking up Level
2. Above Level 2 are veterans,
heroes, mysterious powers and
fell spirits.
Many games will start at Level 1 or 2, with the heroes
just starting their adventures. Other games will start
at a slightly higher power level, to accommodate for
characters with lots of backstory and power.
Note that the range of levels for a given race isnt a
limit, its merely where the majority of individuals
lie on the scale of power. Heroes, the characters the
Players are playing, are often outside the bounds of
normal society and can frequently reach levels of
power higher than bulk of the mortal races.
2.2.8 Stats
Once a starting Level has been decided, you can begin
to think about your characters statistics, or
stats. These numbers act as a quick and
24 dirty assessment of your characters abilities.
The stats are used for

conflict resolution, to determine success in any kind
of competitive or strenuous activity.
You already know one of the stats, and thats your
characters Level. The other stats are grouped into
categories: Attributes, Skills, and Traits. Attributes are
like fixed properties of a character, things like Health
and Reputation. Skills are things that the character
can do, such as Melee attacks or Crafting. Traits are
specific techniques and powers associated with either
an Attribute or a Skill. Traits are interesting powers
that are used in role-playing the character that can
provide bonuses to a given dice roll.
Youll find more information about each of the
specific stats in the next few chapter.
The number of Skills, Attributes, and Traits you can
have is based on your characters Level.
Traits is merely the sum of all traits you own. The max
number of Traits you can have is equal to [Level] 4.
You will gain Points and Traits over time, and these
will cause you to Level Up. At the beginning of the
game, make sure you take Skills, Attributes, and Traits
that befit your character concept, story, and power.
This will help you and the others take on your roles.
Remember that these stats are not the only part of
your character. They represent how your character
does something, not why.
2.2.9 Extras
There are some miscellaneous things that may occur
during character creation, but these are optional. Not
every game will include them, and not every character
in a given game will have them. The use of Extras
is decided by the Master on a per-game basis. Most
games wont need them at the start. There are three
main types of Extras: Perks, Flaws, and Equipment.
Perks are small powers, benefits, or attributes that
a character has that make their lives a little easier.
These are often racial or professional in nature,
from the powerful senses granted by hanjin ears to
a nearly limitless supply of food for a member of the
Fishing Guild. Perks arent as powerful as Traits, but
they can often be used in the same context for roleplaying benefits.
Flaws are analogous to Perks, except that they
make life a little harder. Note that this is often more
interesting to the Players and the Master, providing
the character with limits they must work around.
Examples might include the disdain reijin show for
simple professions, or the persecution that comes from
Kinrei heritage.
Equipment is handled differently in Wa than in
other role-playing games. In Wa, we dont want to
concern ourselves with individual arrows and how
much weight were carrying. Instead, were assumed
to have what we need for the task at hand, unless the
Master reasons otherwise. A samurai, therefore, is
assumed to be armed with their daisho under most
circumstances. Equipment is thus used to represent
extraordinary objects or artifacts of great power. You
wouldnt usually bother writing down that your ninja
has shuriken unless they were enchanted whirlwind
shuriken crafted by the Snow Woman in Fuutou.
Likewise, you wouldnt bother to track your

samurais sword unless it was Senjogahara the
Blade of a Thousand Battles. Another interesting
use of Equipment would be to note the absence of
an item that a character typically used or needs.
Individual pieces of equipment do not have
statistics to interfere with your characters stats.
Instead, they are used in role-playing to help you
perform stunts that are interesting and exciting
for the group.
2.3. Attributes
Points are used to buy Skills and Attributes. The

number of Points you have is equal to ([Level] 9) + 3.
2.3. Attributes
This chapter goes over the phases of creating a
character. This is done at the beginning of a game,
when the Master is assembling the Players and setting
up the story.
Character creation is very collaborative in Wa. Its best
to do a character creation session where everyone is
present, or to do the same over a forum or email chain
so that everyone can bounce ideas off of each other.
It also helps keep everyone on the same page as far as
where the story is headed, another important part of
setting up the game.
2.3.1 Health
The Health Pool represents a characters physical
durability and stamina. It is a Pool attribute, with the
following formulas.
Max Health: [Level] + [Points] + 3
Current Health: [Max Health] - [Damage]
The idea of Health is not complex. When a character
reaches 0 Current Health, they are Knocked Out and
unable to act, fight, or use Skills or Traits.
Depending on the situation, the character may still be
conscious and able to speak, but this is the exception
rather than the rule. In other instances, the Master
may allow a character to role-play certain Traits while
they are Knocked Out. Examples might include the
use of Will Not Stay Down or Kamis Soul traits,
or the activation of an Artifact that depends on the
characters life force.
Health Traits are often used to reduce Damage dealt
in combat, to explain how a character continues to
act in the face of overwhelming adversity, or survive
nearly-fatal events. They are also used to give flavor
to defensive rolls by taking it rather than
avoiding the attack.
25
2.3. Attributes
2.3.2 Initiative
between the tied characters doesnt change even

though their location has.
Initiative is an active Attribute that is used to

determine what order a character acts in conflict
situations. It is calculated as: [Points]d6 + [Level],
the same a Skill.
Movement Traits are also sometimes used to explain

defensive rolls by evasive or slippery characters.
Movement Traits can be used by lightning-fast
attackers as well.
When a conflict breaks out between several

characters, the Master will ask for Initiative
rolls. Any ties on this roll are rolled off until
they are settled.
2.3.4 Reputation
Initiative Traits can be used in Initiative rolls, of

course, but can also be used to enhance descriptions
of other combat maneuvers as well.
2.3.3 Movement
Movement is a measure of how quick on their feet
a character is. Some characters accomplish this by
being very flexible and agile, while others use special
techniques or magic to enhance their speed.
Contests of Speed are often called Chases.
Chases can be handled similar to Initiative
rolls, or for longer sequences, characters
add their rolls together to determine
the distance theyve traveled. Ties
generally mean that the distance
Reputation is an important concept in the culture

of Wa. Social standing is often the most important
single aspect of a relationship between citizens
of Kyokutou. While a beggar with an impeccable
reputation will never be treated higher than a lesser
lord with a terrible reputation, reputation can greatly
change the way people of similar social station react
to one another.
Reputation is an Active Attribute with the formula:
[Points]d6 + [Level]. Though it is technically rolled
by players to influence others, this is often treated as
a passive ability, without the owner having to interact
with the character in question. Merely knowing
of the owners Reputation is enough to change the
behavior of others. As such, Reputation can be used
by characters who are unconscious or even absent
from a scene.
Reputation Traits are often used for intimidation
and respect. They often tinge the interactions of
a character with others. The Master should be
aware of any Reputation Traits of the Players and
have non-player characters react appropriately.
Players should likewise consider the influence
of non-player characters Reputations when
interacting with them.
2.3.5 Energy
Energy is a measure of the different types of mystical
power a character has access to. Much of the time,
this refers to a characters Ki, but some magicians
and monks have access to other sources of energy,
such as the Spirit Wind, Chakra, or pacts
with dark creatures. All of these sources are
measured by Energy.
Energy is a Pool Attribute with the
following formulas.
Max Energy: [Level] + [Points]
26
Current Energy:
[Max Energy] - [Spent Energy]
Ranged
Energy Traits can be used request rerolls on

Recuperation, or to enhance Boosts. Magicians and
other mystics often use Energy Traits to enhance
their powers.
Spirit Path
2.3.6 Personality
Personality is an unusual Attribute. It combines
willpower, cunning, charm, and personal magnetism
into a single stat that is used in contests of will.
Personality is often used between lords and royalty as
a means to get what they want.
Personality is an Active Attribute with the following
formula: [Points]d6 + [Level].
Personality is often used in intrigue settings and
spy missions, as well as comedies and romances. It
provides characters with a way to win fights without
resorting to combat.
Personality Traits provide characters with mechanical
tags that indicate how a character acts. These Traits
can be used in just about any situation, helping
enhance the characterization of a person in the game
and how they react to an event.
2.4. Skills
Energy is usually spent in one of two ways:

Recuperation and Boosting. Characters can
Recuperate by channeling their Energy into their
bodies. This takes one turn in combat and allows the
character to transfer 1d6 Energy to the same amount
of Health. Characters can also use Energy to Boost
their abilities, granting themselves a bonus on a
single roll. This effect is visible to everyone who can
see the character, often provoking counter-boosts
from opponents.
Magic Skills
Darkness Path
Demonic Techniques
Enlightened Path
Esoteric Techniques
Five Elements
Sage Techniques
Spirit Heritage
Professional Skills
Art
Business
Craft
Diplomacy
Fieldcraft
Labor
Perform
Religion
Tactical Skills
Athletics
Awareness
Deception
Stealth
Strategy
Truth
2.4.2. Battle Skills

Battle Skills revolve around combat, plain and
simple. They are as diverse and varied as the fighters
who use them.
2.4. Skills
Many Battle Skills require intense, rigorous training

to become proficient in. The concept of martial arts is
intertwined with these Skills.
This massive chapter contains information about the

Skills of Wa.
Battle Skills are mostly found among warriors,

soldiers, and criminals, though there are some
civilians who train in them for sport.
2.4.1 Skill List

Battle Skills
Beast Heritage
Dodge
Guard
Hand to Hand
Melee
Ninjutsu
2.4.2.1 Beast Heritage

Beast Heritage is not a martial art, a school of fighting,
or a theory of combat. It is a physical manifestation of
feral power. It is the type of combat that animals rely
on: teeth, claws, fangs, hide, talons, and instinct.
27
2.4. Skills
Beast Heritage is of course popular among

animals, but many spirits, youkai, and demons
also possess these basic combat abilities.
Demons, martial artists, and the more physically

impressive youkai also use Guard.
Beast Heritage Traits:
Battle Sense
Muscle Guard
Weapon Parry
Aura of the Veteran
Strike the Strike
Invulnerable
Iron Skin
Stone Bones
Sword Ki Defense
Claws
Concealment
Fangs
Flight
Hardened Shell
Hardy
Immense Strength
Leathery Hide
Powerful Senses
2.4.2.2 Dodge
Dodge is the ability to evade attacks completely. It is
one of the most popular defense mechanisms in the
world, and is instinctively used by animals, cultivated
by martial artists, and mastered by shinobi.
Advanced uses of Dodge can position a fighter in an
advantageous position for attack, in addition to
evading blows. At greater levels, users can even
seem to disappear from view.
Dodge Traits:
Acrobatic Evasion
Counterstep
Water Flows
Bending Around the Wind
Guiding the Strike
A Hairs Breadth
Ghostly Body
Body Flicker
Godspeed Evasion
2.4.2.3 Guard
Guard is the ability to deflect, absorb,
or block a blow. In mortals, this is often
done with armor or by raw muscular
power, shouldering an attack out of
the way. Guard is most often found
among soldiers, where moving around
to avoid an attack may expose a
companion to danger.
In the rare offensive role, Guard is
used to smash an attack back at the
attacker, causing damage to them or
their weapon.
28
Guard Traits:
2.4.2.4 Hand to Hand

Hand to Hand combat is an ancient form of battle
invented by humanoid peoples. In absence of other
methods of attack, the body itself becomes the
weapon. In modern times, it is composed of many
different martial arts, all of which teach different
forms and expressions of the same basic principle.
Hand to Hand Traits:

Hard Counter
Knife Hand
Opening Gate
Iron Hands
Choke Grip
Driving Slam
Pressure Point Strike
Sealing the Body
Stonebreaking Strike
2.4.2.5 Melee
Essentially the opposite of Hand to Hand, Melee is
the art of attack and defense using a close-ranged
weapon, such as a katana, yari, naginata, kodachi,
tetsubo, or bo staff.
Melee ritualized similarly to Hand to Hand, with
thousands of schools of combat devoted to the subject.
Each has their own philosophy, style, and favored
set of weapons. All of the modern armies of the
Mortal World rely on Melee as the backbone of their
fighting ability.
Melee Traits.
Crushing Blow
Overhead Strike
Parry the Strike
Penetrate Defenses
Furious Charge
Cutting the Arms
Multiple Blows
Instantaneous Draw
The Supple Blade
2.4.2.6 Ninjutsu
Ninjutsu is the application of a number of esoteric,
quasi-mystical fighting arts. It is employed by secret
agents, spies, shinobi, and ninja. The powers of
Ninjutsu are part martial art, part onmyoji mysticism,
part elemental technique, and part deception.
As with other Battle Skills, there are numerous
schools that teach Ninjutsu, most of which are secret.
Practitioners are tested mercilessly and are often
sworn by oath or heart seal to an organization related
to the school.
Concealing ones true capabilities is core to

Ninjutsu, so most practitioners keep their
Ninjutsu a secret.
2.4. Skills
Hand to Hand is often a complex mix of attack and

defense, relying on strikes, throws, elbows, kicks,
grabs, and pushes instead of swords and spears. Many
schools feature highly ritualized routines that expert
users can deploy at lightning speed.
Ninjutsu Traits:
Concealed Weapons
Grappling Techniques
Surprise Attack
Battlefield Misdirection
Poisoned Blade
Elemental Strike
Hidden Techniques
Yin-Yang Strike
Secret Techniques
Sealed Techniques
2.4.2.7 Ranged
Ranged is the art of attacking an opponent at a
distance. This is often done using a bow, such as a
yumi or daikyu, or with a thrown weapon, such as a
kunai, shuriken, or senbon.
While it would appear that the Ranged Skill cannot
be used defensively, there are situations it can be used
creatively in, for example shooting an arrow into a
foot to foil a charge, or throwing a blade to distract a
spell caster.
Ranged Traits:
Leading the Target
Hail of Arrows
Directing the Target
Incredible Distance
Intercept Attacker
Pinpoint Accuracy
Ranged Counter
Return Shot
The Arrow is Truth
2.4.3. Magic Skills

Magic Skills are the most obscure, mysterious, and
inscrutable Skills in Kyokutou. The vast majority of
people of the Mortal World barely realize that these
strange and fell powers even exist.
In general, Magic Skills are ones that deal with powers
outside the normal abilities of a ningen mortal.
They encompass many spiritual powers, from those
powered by ones internal peace to those powered by
harnessed dark energies.
Magic Skills are rarely found among nonclergy. Most of the time they are employed
29
2.4. Skills
by the state sanctioned spiritualists of the Shrine

and Temple Associations, but there are rare
freelancers who use their skills to make a living
solving spiritual problems. There are also a few
small cults dedicated to other, more occult gods
who use these powers. Magic Skills are a defining
trait of the spirits.
2.4.3.1 Darkness Path

The Darkness Path is one of the most
rare and dangerous powers in all of
Kyokutou. It mirrors the Enlightened
Path, following a twisting, winding
path of knowledge, rather than an
illuminated path of wisdom. While
it can be used for neutral, or even
beneficial purposes, most of the time
the temptation to use its advantages
is too great. The majority of people
who walk the Path of Darkness end
up corrupted by its dark power.
Even dabbling in the art can be
enough to affect the mind.
The Darkness Path is
considered by even the
most powerful priests
and monks to be
too powerful and
dangerous for
anyone to use,
with the exception
of a very small
number of
wizened scholars.
In reality, it
sees frequent
use among
those who dwell
in the shadow,
particularly
the Kurosuuhai,
or Black Cult.
Darkness Path Traits:
Shade in Fog
Shadow Talon
Dusk of Spirit
Terror Release
Shadow Moves First
Know the Secrets
Return to Darkness
Light and Shadow
30
Awaken the Void
2.4.3.2 Demonic Techniques

Demonic Techniques are extremely dangerous
powers that rely on the power of sealed or contracted
demonic spirits, such as oni or obake. While there
are redeeming features of the Darkness Path, the
Demonic Techniques have none. At best, the
user can only hope to control their own desires
and power long enough to escape. At worst,
the user is swallowed up by the spirits they
attempted to control and returns to the
world inhabited by things that should have
remained bound.
Demonic Techniques are not in popular
use among any group in Kyokutou.
They are frequently sought by cabals
and other dark organizations, but they
are rarely found. Oftentimes, they are
taught by the most insidious servants of
the dark powers.
Demonic Technique Traits:
Demonic Seal
Draw Spirits
Fell Techniques
Obake Consort
Unstoppable
Ferocity
Summon Entity
Demon Install
Fiendish Release
Unbinding the Bound
2.4.3.3
Enlightened
Path
The Enlightened Path is the
Skill of Chido, one of the two
most widespread religions in all
of Kyokutou. It deals with inner peace,
enlightenment, and the journey of
life and death. It is most familiar as
the presence of monasteries and temples in every
region of the land.
Owing partially to its widespread use, much of the
religion deals with the day to day life of its adherents.
The Skill, on the other hand, is reserved for devout
Enlightened Path Traits:

Prana of Stoicism
Sutra of Inner Peace
Prana of Gentle Force
Sutra of Cleansing
Sutra of Banishment
Sutra of Purification
Prana of Knowledge
Prana of Inviolability
Sutra of Outer Peace
2.4.3.4 Esoteric Techniques

The Esoteric Techniques, also called Onmyodo, are a
mysterious art of spiritual power and peace. They deal
with opposition, contrast, unity, divination, and the
balance of Yin and Yang. The Esoteric Techniques are
as rare as they are potent, and they are usually found
among mountain hermits and mystics who seek to
transcend the world.
The Esoteric Techniques often fill the gaps between
other spiritual powers, drawing on the truth of
things to blend energies, uncover secrets, and
divine the future. The Esoteric Techniques are seen
by most as a power reserved for spiritualists on
the path to mastering not only themselves but the
world around them.
Esoteric Technique Traits:
Reading the Signs
Yin-Yang Release
Walk the Hidden Path
Create Shikigami
Spirit Barrier
Banishing Word
Ki Chakra Union
Thousand Petals Chakra
Astral Dominion
2.4.3.5 Five Elements

The Five Elements Skill is a very basic form of magic
that is popular among many groups of mystics. As
implied, it is the mastery of the elements Fire, Water,
Wind, Earth, and Void. Users usually specialize in a
single element, though more powerful practitioners
use several at once to create unique combinations.
The Five Elements are used by most spiritualists as
a method for attack or defense. Many clans even
employ small organizations of elementalists called

godaisha who wield elements related to their
clans heritage. The Five Elements are also popular
among spirits, and often mortals with a touch of
spiritual heritage find themselves with a talent for
one or more of the Five Elements.
2.4. Skills
practitioners, such as monks and clergy. They use the

Enlightened Path Skill to perform the many rituals
and forms needed to guide others along the Path.
Five Element Traits

Earth Release
Fire Release
Water Release
Wind Release
Void Release
Elemental Manipulation
Elemental Blast
Elemental Body
Elemental Aura
Elemental Storm
2.4.3.6 Sage Techniques

The Sage Techniques are less of a proscribed form of
magic than a collection of skills that sages, hermits,
and mystics tend to acquire over time. The Sage
Techniques draw their power from many different
sources and are usually found after long years of
introspection.
The Sage Techniques are often employed as a way to
diffuse combat or foil attacks. Those who use this skill
usually do not desire to compare skills and prefer to
pursue enlightenment rather than conflict. Because of
this, many of the Sage Techniques are focused on the
self rather than the external world.
Sage Technique Traits:
Ascetic Body
Ascetic Mind
Ascetic Soul
Peace with the Spirits
Seeker of Perfection
Diamond Lotus Chakra
Kami Attendant
Spirit Sage Eyes
Spiritual Ascendance
2.4.3.7 Spirit Heritage

Spirit Heritage is the supernatural analog to Beast
Heritage. It represents the innate natural talents and
abilities of a spirit, demon, or kami. These powers are
very different from what mortals are used to
experiencing, leading to one of the reasons
31
2.4. Skills
for the gap between the Mortal World and the

Spirit World.
2.4.4. Professional Skills
Spirit Heritage is possessed in some form by

almost all yuurei, youkai, rei, obake, oni, kami,
and yajuu. Reijin also see some Spirit Heritage,
though to a lesser extent.
Professional Skills are abilities that one uses for

employment, to gain wealth, or to perform duties.
For the majority of peasants (and thus most people in
Kyokutou) these Skills are what define ones life.
Spirit Heritage Traits:
Professional Skills are used by every social class

and caste in the hierarchy of the fallen Empire,
from Labor used by slaves and serfs, to the Craft
Skill used by artisans, to the Diplomacy of
politicians and leaders.
Chaotic Appearance
Spirit Fire
Spiritual Connection
Telepathy
Incorporeal Form
Transformation
Energy Feeding
Fearful Presence
Bestow Bounty
Bestow Curse
Gigantic Form
Divine Power
2.4.4.1 Art
Art is the Skill of creating visual
works. It encompasses calligraphy,
ikebana, sumi-e, Ukiyo-e, sushi,
and others. It is even used
for the more decorative
parts of physical
objects, from shoji
screens to sword
hilts. Art itself is
considered a high
skill, and though most
of the best artists are
of the middle classes,
it is much enjoyed at
all levels of society,
especially the rarefied
heights of aristocracy.
2.4.3.8 Spirit
Path
The Spirit Path is the Skill
of Shindo, one of the two main
religions of the land of
Kyokutou. It focuses on
making and keeping
peace with spirits and
directing or guiding
supernatural entities. In its
more aggressive forms, it can
even bind or seal spiritual beings
who are causing trouble.
The Spirit Path is usually used by
priests of the Shrine Association,
but it is also seen among village
spiritualists, Clan-bound magicians, and
members of dark cults. It is popular with reijin as
well, in light of their knack for the supernatural.
Spirit Path Traits:
Kamis Blessing
Pleasing Offering
Answered Prayer
Gather Ki
Purify Spirit
Seal Power
Spiritual Barrier
Guide Spirit Energy
Seal Spirit
32
The Art Skill is usually

owned by members of
the saikushi (artisan) or chounin
(merchant) classes, and the demand for
it is growing as the Clans race to glorify
themselves. Many members of the Clans
are also skilled in Art, but usually more as a
pastime than a profession.
Art Traits:
Clever Allusion
Desiring to Exist
Sympathetic Resonance
Time and Age
Expert Calligrapher
Subtle Beauty
Elegant Refinement
Harken Back
Profound Tranquility
Transience of Beauty
Business is the skill of trade and mercantile dealings.

It is used in any situation where negotiation,
managing, marketing, or calculation skills are needed.
The Business skill is the defining characteristic of
the chounin merchant class, who make a living by
transporting, trading, dealing, and marketing goods
of various sorts.
In the past, before the Assassination of Emperor
Rushiken, the chounin were considered a lower class
than the heimin peasantry. In recent years, they have
used their skill in Business to climb the ladder of
social status.
Business Traits:
Personal Connection
Skilled Service
Fence Goods
Market Research
Consummate Merchant
Mental Calculation
Blind Negotiation
Mastery of Management
Mastery of Numbers
Function Becomes Form

The Pathos of Things
Embody Philosophy
2.4. Skills
2.4.4.2 Business
2.4.4.4 Diplomacy
Diplomacy is the Skill of speaking with others. It
is often used to confer honor, negotiate politely,
resolve conflicts, impress others, assuage doubts or
concerns, and show respect. Diplomacy can often
neutralize dangerous situations before Tactical
Skills even become necessary.
Respect and honor are very important concepts

in Kyokutou, where the hierarchy of the entire
civilization is founded on these ideas. Diplomacy is
therefore very popular, especially in professions and
social classes that deal extensively with other people,
such as merchants, servants, shop owners, politicians,
and negotiators.
Diplomacy Traits:
Hard Bargain
Sweeten the Deal
Trustworthy
Appeasement
Conflict Resolution
2.4.4.3 Craft
The Craft Skill constitutes the ability to make
something out of raw materials. It is often used to
create furniture, buildings, objects, weapons, armor,
and tools. It is also used to refine materials, such as
milling rice, smelting ore, and cutting lumber.
The Craft Skill is one of the most pervasive
Skills in the world. Every member of the
heimin peasantry uses this Skill on a daily
basis, and many members
of
the middle social classes
also use it to perform their
duties. It is even seen among the
higher classes as a hobby or way to
perform a service that does not involve
war and combat.
Craft Traits:
Decoration
Function
Minimalism
Simple Elegance
Clan Specialty
Quality Materials
Custom Tailored
33
2.4. Skills
Skilled Negotiator
Subtle Intimidation
Cultivate Relations
Empathic Expert
2.4.4.5 Fieldcraft
The Fieldcraft Skill represents ones ability to
survive in, move through, and effectively use
wilderness environments. It encompasses a
number of tactical and survival skills, such
as building a fire, finding food and shelter,
observing the terrain for enemies, overland travel,
camouflage, and escaping detection. It sometimes
stands in for Stealth or Awareness in wilderness
environments and can be used to track others or to
hide ones own tracks.
Fieldcraft is often used by hunters, gatherers,
scouts, special agents, ninja, and people who live in
the mountains.
Fieldcraft Traits:
Navigation
Rapid Overland Travel
Survival Basics
Concealment Expert
Hot Weather Expert
Tracking Expert
Weatherproof
Cold Weather Expert
Hunting Expert
Sea Expert
Working the Land

Bountiful Harvest
Material Production
Moving the Earth
2.4.4.6 Labor
2.4.4.7 Perform
Labor is the Skill of physical work. It covers a large

number of specialties, including earthmoving
and stone masonry, farming and crop gathering,
manufacturing, and goods transportation. The Labor
Skill helps the user work smarter, better, and faster, as
well as harder.
The Perform Skill represents ones ability at music,

dance, or theater. Most performers specialize in
one instrument or area, such as the shamisen, the
taiko drum, the odori dance, or kabuki. Perform is
considered a high Skill, like its cousin, Art, and is
enjoyed by all social classes in some form or another.
Labor is nearly as pervasive as the Craft Skill. It is

used by the majority of heimin peasants to work
their farms and fisheries. It is rarely seen above the
middle classes.
The Perform Skill is possessed by many, though few

rely on it solely as their profession. Many of the lower
and middle class have some skill in Perform, coming
together for the many festivals of Kyokutou. The better
the performer, the more likely they are to rise through
the ranks and rely on their skill for their livelihood.
Many of the best performers are celebrities who
occupy a small cul-de-sac of the social order.
Labor Traits:
Disciplined
Manual Dexterity
Material Gathering
Naturally Suspicious
Organized Effort
34 Mechanical Advantage
Perform Traits:
Dance
Musical Arts
running long distances, sprinting, climbing,

swimming, jumping, and other physical activities.
2.4.4.8 Religion
Martial artists, shinobi, ninja, and couriers are

among those skilled in Athletics.
The Religion Skill represents a worshipers faith,

resolve, and determination to follow the strictures
of their doctrine. This skill differs from the various
Magic Skills in that it does not tap into the actual
source of power, but symbolizes a persons devotion
to that religion. Rather than producing miracles,
the Religion Skill is more about the day-to-day
functioning of the religions as organizations.
Athletics Traits:
The Religion Skill is held by nearly everyone in

Kyokutou, at some level. It is most powerful in priests,
monks, and the clergy of the popular religions, but is
also held at high level by scholars, theologians, and
philosophers.
Religion Traits:
Chido Practitioner
Inner Strength
Shindo Practitioner
Devotee
Kurodo Practitioner
Low Priest
Senkei Practitioner
Theologist
Yodo Practitioner
High Priest
2.4.5. Tactical Skills

Tactical Skills are all about gaining an advantage,
usually in relation to another person. Tactical Skills
are useful for gaining the upper hand before, during,
or even after combat. Oftentimes one or two Tactical
Skill rolls stand between peace and war.
Tactical Skills are often found in soldiers and special
agents of various sorts, where rapid dominance is a
necessary and strategy is essential.
2.4.5.1 Athletics
The Athletics Skill represents a characters physical
agility, grace, and movement ability. Athletics covers
Athletics is usually countered with Athletics;

most of the time these competitions are a matter
of performance. Athletics can also be used in
Movement scenarios or Chase sequences.
2.4. Skills
Tea Ceremony
Theatrical Arts
Instant Infatuation
Pleasant Discourse
Bittersweet Performance
Art of Fascination
Unparalleled Grace
Dancers Grace
Free running
Acrobatic Maneuver
Airborne Step
Slippery Body
Outmaneuver
Outrun the Wind
Ricochet Climb
The Highest Road
2.4.5.2 Awareness
Awareness is the opposite number of Stealth. It is
used to perceive things, usually of a visual or auditory
nature. Awareness is used to find things, spot people,
and search areas.
Awareness is usually used to counter Stealth, but
sometimes it can be used to counter Deception,
Strategy, or Battle Skills.
Monks, priests, investigators, and shinobi often have
excellent Awareness.
Awareness Traits:
Cultivated Senses
Feral Senses
Deep Empathy
Fine Tuned Senses
Spiritual Awareness
Distant Senses
Instant Survey
Precognition
Mind Sight
2.4.5.3 Deception
Deception is the Skill of lying and machination.
Deception allows a character to convince others of
untrue or partially true facts, disguise falsehoods,
bluff, feint, and otherwise confuse others.
35
2.5. Extras
Deception is often used in court and politics, but it

is also important to spies and information agents
of all sorts.
in many types of situation where several parties are

competing for something, from army-scale battles, to
small tactical incursions, to important business deals.
Deception is usually countered with Truth, but

sometimes Awareness, Personality, or Reputation
can stand in. Powerful spirits often see through
Deception, and have it themselves.
While Strategy is useful in many situations, it is

most often found in those with some sort leadership
position. It is also found among rebels, guerrillas,
spies, assassins, and other individuals operating
on their own.
Deception Traits:
Guile
Misdirection
Poetic Voice
Smiling Eyes
Consummate Conman
Unusually Trustworthy
Silver Tongue
Gilded Words
Foxs Mask
2.4.5.4 Stealth
Stealth is the ability to remain
unnoticed. It allows users to pass
undetected from place to place, to evade
scrutiny, and to conceal items on their
person or elsewhere.
Stealth is one of the
most important skills
for thieves, outlaws,
ninja, and couriers. It is
also useful in court and
politics, where it is used
to facilitate the gathering
of information. Stealth can
also be used by powerful
spiritualists to hide their own
spiritual presence.
Stealth Traits:
Camouflage
Crowd Blending
Extreme Patience
Quickchange
Evade Scrutiny
Preplanned Distraction
Into Thin Air
Invisibility
Conceal Presence
2.4.5.5 Strategy
36
Strategy is the ability for one to direct

actions in a favorable way. Strategy is useful
Strategy Traits:
Combat Stratagem
Taking the Initiative
Battlefield Calculation
Terrain Usage
Utilizing Surprise
Weak and Strong
Power Disposition
Use of Intelligence
Target
of Importance
2.4.5.6 Truth
Truth is the ability of a character
to separate fact from fiction. It is
mainly used to counter Deception,
though it is sometimes used to
defend against illusion-based
or mind-control magics, or to uncover
information about hidden or unknown
subjects. Some monks use Truth as a path to
enlightenment.
Investigators, spies, politicians,
court officials, and clan leaders
often possess Truth, as do many
religious officials.
Truth Traits:
Discern Lies
Poetic Eye
Ignore Misdirection
Wary of Answers
Empirical Analysis
Sensing the Ties
Philosophical Thinker
Sensing the Balance
The Unclouded Mind
2.5. Extras
Extras are bits of information about a character that
are optional. They are typically utilized as traits,
Extras may or not be used in a

game at the Masters discretion.
Because they are not bought
with points and have no
specific mechanical benefit,
players can write down
Extras during character
creation. The Master can
choose to enable or disable
Extras as desired.
2.5.1 Perks
Perks are special bonuses that a
character has. They are often in the
form of racial capabilities, such as
the powerful senses of the hanjin
or the innate magical skill of the
reijin. Other types of perks may be
related to a characters background,
such as personal wealth or a large
number of contacts.
2.5.2 Flaws
Flaws are personal, social, or physical
problems that plague a character, for
example the mental instability of Yuurei, or
a social stigma from ones dorei heritage.
Flaws are excellent tools for role-playing.
They often turn a bland superhero into a
complex, round person with their own
problems to deal with. Interpersonal
flaws are great for this.
2.5.3 Equipment
The Equipment Extra is a catch-all for objects of
importance that the character is carrying. In Wa, we
dont track individual items unless theyre valuable,
unusual, or otherwise specifically important. In
general, a character is assumed to have the tools
necessary to do their job, for example, weapons and
armor for samurai, seals and robes for a priest, and
so on. The Equipment Extra is for special items, like
a sword that transforms into a person, or a piece of
the Imperial Regalia. In some situations, it may be
beneficial to note less valuable items, such as food or
water when lost, or shards of a particular sealing

stone. In short, if its an important item, it can
go under Equipment.
2.6. Role-Playing
2.6. Role-Playing
giving extra options for players to use

while role-playing.
The term role-playing gets used

a lot in Wa. When we talk about
role-playing, we mean taking
on the role of a character, not
just rolling dice all night long.
The role-playing were concerned
with is focused on characters,
storytelling, and drama.
While the characters are often
warriors of some kind, you
will notice that the rules
for combat are somewhat
light and flexible. Was rules
arent supposed to force a
fight to go one way or another,
theyre supposed to support
the story. That is easier with
lighter rules because it means
that less time is spent going
over rules cases and counting
numbers and more time is spent
telling the story itself.
2.6.1 Character
Motivation
As in any role-playing game,
deciding a course of action for
your character is a complex task.
Since Wa focuses so much on the
characters and drama of the situation,
deciding what to do comes down to
character motivation, rather how create the highest
dice roll. Remember, were here to collaboratively
tell a story, not rack up the most points. Here are
a few suggestions for breathing some life into
your character.
Always keep in mind the relationships between your
character and the others in the scene. A normal
person wouldnt be caught dead disrespecting a
member of the Kinhan. If your characters lover is a
hostage in the battle, consider how that would affect
your characters state of mind. If your character
has never seen a spiritual event, meeting
37
2.6. Role-Playing
a Youkai would be quite a surreal, terrifying

experience, even for a veteran warrior.
Remember also that most people do not wear

their true emotions on their sleeve. There is often
a certain amount of self-censoring that goes into
peoples actions. Your character might appear
humble before a lord, but secretly despise the man
because of past events. A noblewoman might be
cold and aloof to traveling mercenaries in spite
of the fact that she desperately needs their help.
Often this behavior is caused by cultural norms
and perceptions enforced by the strict, stratified
society of Kyokuto.
The people of Kyokuto are often inherently humble,
downplaying their importance, skills, or attributes,
even when praise is deserved. This effect is more
pronounced between people of vastly different social
standing; peasants will often bow or prostrate their
way out of even the lightest praise from a samurai
or lord, and Clan samurai are known for being
almost melodramatic when their masters applaud
their efforts.
Very few characters focus exclusively on one thing
at a time. Even in the middle of a fight, people find
themselves distracted by how their allies are doing,
whether their loved ones are safe, and how best to
fulfill their duties. How do outside factors influence
what your character is doing right now? In a positive
way, or in a negative way?
Beyond that, always remember to stay true to the
character. Sometimes people do just act out, but most
of the time there is a reason for what they do, even if
no one else knows what it is.
2.6.2 Rule of Drama

Wa is intentionally a dramatic, exciting world
with dramatic and exciting characters. There will
almost always be conflict in some form, because it
is the source of that drama. Sometimes, there will
be a choice between a simple, easy way of doing
things, and a hard, dramatic way of doing them.
We greatly encourage you to take the hard way,
because that is what stories are all about. It would
hardly be interesting to take an army to a duel,
unless the duelists are the heroes. It would be boring
for a powerful martial artist to move up into the
mountains to avoid a rival, unless that rival comes
knocking once again.
38
This doesnt mean that the characters of the story have

to be bumbling klutzes. There isnt usually a need to
throw a fight by role-playing that your character trips,
unless losing that fight enhances some other aspect
of the drama of the story. On the other hand, if the
characters have captured their adversary, it might be
interesting if one of the heroes accidentally let slip an
important secret.
The rule of drama often shows itself in the format of
the heroes being the underdogs. When a single man
or woman stands against an army, there is something
about the situation that makes us want to root for
the outgunned. Sometimes, its better for the drama
of the story to keep moving rather than consolidate
power. Sometimes, its better to intentionally play
the underdog, because its more exciting when the
underdog finally wins.
2.6.3 Actions
While many of the scenes in your game may consist
of high-level planning, conversation, or travel, others
will require a more detailed description of events. In
these situations, usually combat or at least competitive
in nature, Players use Actions to describe individual
things their characters do.
Actions are fundamentally an attempt to do
something, not an entire event. Because the Master is
the arbiter of what does actually occur, player Actions
are usually phrased as my character does this, or
my character tries to instead of my character
does this, and this happens to the bad guy. This leaves
the outcome up to the Master, who selects an outcome
that is dramatic and fits with the direction of the story.
Actions range in complexity from very simple to
complex stunts and they are the basic unit of conflict
resolution in Wa.
A character attempts to do an Action, and from there
the conflict is resolved in one of two ways. Either the
Master resolves the action by describing the events
directly, or (as is most often the case in combat
situations) dice are rolled to add an element of chance
to the event.
Because the rules of Wa are designed to support
the story, not interfere with it, dice are not required
for every conflict. Most of the time, the Players and
the Master tell the story together directly, dictating
Actions of characters and the reactions of others as
they make sense to everyone.
2.6. Role-Playing
There
are even situations where it makes
sense to role-play combat without using dice at all,
such as when a character is facing a vastly more
powerful force, or is physically or emotionally
compromised and unable to properly act.
Other times, when the situation requires tension and
an element of chance, the Players and Master resort to
dice rolls to help determine the outcomes of Actions.
Again, the Players declare their Actions, roll the dice,
and the Master describes the outcome based on the
Players Action, roll, and role-playing.
Make
sure to take ownership of your good
rolls, too. Describe how you added an extra attack
to the combo to punch through your opponents
defenses, or how you channeled your anger into zenlike peace to overcome a dangerous spell.
The point here is that it breaks everyones suspension
of disbelief if Players are complaining about dice rolls
in the middle of otherwise well-described combat.
Respond in-character to the rolls, and keep the
momentum going.
2.6.4 Role-playing the Dice
2.6.5 The Outcome
Its important for the Players to feel like the dice are
just an expression of chance, a method for creating
conflict, not an adversary to beat. A poor roll of the
dice can be just as interesting as a good roll.
The outcome of an Action is determined by the

Master, who knows what direction the story will take
and what sorts of challenges lie ahead. Sometimes,
youll like what the Master has described, and
sometimes you wont. Remember that this is a
collaborative story, and that you are one part of the
whole. The Masters job is to make sure that the story
keeps going, and sometimes that means that an
enemy has to escape or a friend has to get hurt. As
a Player, its your job to stay in character and direct
your desires into the character instead of back at the
other Players or the Master. If youre sore about losing
a fight or failing a mission, showcase how your
character deals with that emotion. Role-play
how determined and focused your character
While the ultimate outcome of an Action is up to the

Master, its encouraged for Players to take ownership
of their rolls, to describe how their characters
performed based on the die roll.
If you roll poorly, take ownership of the failure, and
describe what mistake your character made. Perhaps
they arent used to fighting this type of enemy, or
perhaps the adversary got the drop on them. They
could be distracted, confused, or caught in the middle
of deciding between actions.
39
2.7. Rolling Dice
can get. Remember that conflict is dramatic, and

without drama, we wouldnt be having fun. In
other words, remain calm.
This usually occurs when a character is forced into a

situation in which the character begins to develop the
Skill immediately.
2.7. Rolling Dice
2.7.3 Bonuses
Rolling dice puts the outcome of an Action in

question, leading to tension and uncertainty. This
is usually most valuable in competitive situations,
such as in battle or spiritual cleansing. Remember
though that dice rolls are there to support the
story, not interfere with it, and in the unusual
situation that no one can rationalize what the dice
have declared, its okay for the Master to describe the
situation differently. Just remember that seeminglybizarre events determined by the dice are often very
memorable in retrospect.
2.7.1 Basics
The most basic we can describe a single Roll in Wa
is this: Roll a number of six-sided die (d6), take the
highest number, and add a bonus. This is denoted as
[P]d6+[L], where [P] is the number of Points you have
in that Skill or Attribute and [L] is your Level. This is
the dice mechanic used for Skills, combat, and some
Attributes. In general, if you need to roll for it, youll
roll it like this.
Some Rolls will be Opposed, and some will be
Unopposed. This is simply whether youre trying to
succeed against an animate entity (like a samurai,
spirit, or monster) or an inanimate object (like a trap,
cliff, or gate). In Opposed Rolls, Youll roll your dice,
the opponent will roll theirs, and the highest wins. In
Unopposed Rolls, you roll your dice alone, trying to
roll above a static Threshold. In all rolls, ties go to the
defender, Opposed or Unopposed. Youll find more
about dice rolls, combat, and damage in the Combat
chapter, next.
2.7.2 Zero Points

If a character has no Points in an Attribute or a Skill
that they have at least one Trait in, they roll zero dice
and are considered to have a static value in that ability.
They may use that ability but never roll dice for it,
unless there is a tie.
40
If a character has no Points and no Traits in

a skill, they cannot use the Skill without
consensus from the group and the Master.
There are several kinds of bonuses to a roll. First of

all, there are Point bonuses and Dice bonuses. Dice
bonuses are rare and are given out by the Master in
special circumstances. Point bonuses are much more
common and are further classified into several kinds:
the Level bonus, Stunt bonuses, Teamwork bonuses,
Combo bonuses, Ki Surge bonuses, Equipment
bonuses, and miscellaneous bonuses.
The Level bonus is directly incorporated into the
normal dice roll and is always used. All other bonuses
are detailed in the next chapter. All these bonuses
have the effect of adding to the dice roll, rather than
giving the character more dice to roll.
2.8. Combat
Combat is the most structured type of event in Wa.
Well explore the various options available and the
events that can occur in this chapter.
2.8.1 Turn Structure

Combat in Wa is structured similarly to other roleplaying games. Each player acts only on their turn,
which occur in sequence based on an Initiative Roll.
These turns are organized into rounds. The round
is over when all active participants in combat have
finished their turns.
During each turn, a player describes an Action, which
generally consists of an attack on another character
or object, or some type of non-combat activity such
as healing another with a spell or creating a barrier.
The player rolls dice as directed by the Master, who
describes the outcome.
2.8.2 Initiative
When combat begins, the Master will call for an
Initiative roll. This roll determines the order in which
the character act. Higher numbers go first, and ties
are rerolled until they are broken. In the rare instance
that several characters in combat have no Points in
2.8. Combat
Initiative and their Initiatives are tied, they each roll a

single unmodified d6 to resolve ties.
When the Master calls for Initiative rolls, players can
request to perform a stunt for Initiative, to gain a
bonus on their Initiative roll.
The Master will then order the characters by Initiative
and begin the first round by calling on the first
character to act.
2.8.3 Attacking and

Defending
Generally, attacking is an Action while defending
against an attack is considered a reaction and does
not require an Action to be used. Characters can
therefore defend from many more attacks than they
can perform in a given turn. Characters can only
attack on their own turn, but they can defend at any
time, as long as they are not knocked out or otherwise
unable to act.
When a character attacks, the player playing that
character declares the target and describes the Action
they take using their Skills and Traits, optionally
attempting a Stunt of some kind. The attacker then

rolls the dice for the main Skill of the attack and
declares the result, including any bonuses for Stunts.
The defender roll an opposing defense and describes
the Skills used, along with any traits.
After both numbers are rolled, they are compared.
If the attack is better than the defense, the attack is
considered to have succeeded and we move on to the
damage phase. If the defense is higher, the attack is
neutralized. If both values are the same, the effect
is a perfect clash, where the defense exactly meets
the attack. Players are greatly encouraged to give
a brief description of their characters reactions to
these events.
2.8.4 Taking Damage

If the total of an attack is greater than the total of
the defense, the attack has succeeded and will deal
damage to the defenders health. This is calculated
by subtracting the Defense from the Attack. For
example, an attack of 5 against a defense of 3 results
in 2 damage to the defender. The damage is
subtracted from the defenders Health. If the
defender has any Health or defensive Traits,
41
2.8. Combat
they can ask to attempt an extra Stunt to reduce

the damage. The Master may allow this, or judge
that the damage is already done based on the type
of attack and the type of defense involved. They
may even allow a defensive stunt, but then decide
that the attack has properly penetrated it, thereby
allowing all the damage through anyway.
or defenses that a Player wants their character to

perform. They exist as a way to reward players for
creative thinking and exciting role-playing, not as
a simple tool to gain bonuses on every roll a Player
makes. Stunts should be amazing, cool, and awesome
to pull off. But be warned, the Master can perform
Stunts too, especially with powerful villains.
2.8.5 Knock Out
In general, performing a Stunt takes the place of an

Action, so if you do a Teamwork or Combo Stunt, you
wont be able to attack or act on your turn aside from
the Stunt youre performing.
When a characters Health reaches zero, they are

Knocked Out. Unlike other games, these characters
are still alive, though they might be in serious danger
depending on how they were knocked out. The details
of how a character dies or survives are often too
important to merely gloss over with a die roll, and
they should always be handled with role-playing.
Even when a character is suddenly killed, the player of
that character should secretly agree to the scenario or
possibility ahead of time with the Master. Players can
voluntarily put themselves in mortal danger for the
good of the party, the people, or any other goal, if they
so choose, but the Master should be wary that killing
main characters can seriously disrupt the flow of the
game. Preparation is key.
2.8.6 Role-playing Stunts

Sometimes youll find that you need an advantage
over an opponent, or come across a situation that you
really do need to succeed at. Its times like these that
Players can unleash the power of role-playing Stunts.
These are special actions that go above and beyond
the normal Action to try to enhance the story and
excitement for everyone. For performing a Stunt, the
Master will reward you with a bonus on your roll for
an Action, depending on how well youve role-played
and described your Stunt. The benefits can be huge for
well-done stunts.
Stunts are usually comprised of several chainedtogether acts, or one single, major action that a
character puts all of their resources into. Stunts are
usually made up of one or more Traits or pieces of
Equipment used in novel ways, for example using an
artifact sword that can cut anything to slice down
a building as a distraction for a Body Flicker sneak
attack. Traits are often used to their maximum
potential in Stunts, stretching them to the limits
of imagination.
42
Stunts should be seen as a way to articulate a

special combo or complex series of attacks
2.8.7 Teamwork Stunts

Teamwork functions similarly to Stunts. Players
can work together to pool their resources and try to
accomplish the impossible.
When trying for a Teamwork Stunt, a single character
must act as the Focal Point. This character doesnt
necessarily have to be the one to deliver the attack or
finish the combo, but they must have some hand in
the Stunt, possibly as the leader, strategist, or point.
The Stunt may be started by any player so long as
the Focus agrees. Any number of players can then
add on or modify actions that go into the Stunt,
collaboratively creating a team combo. The Combo is
delivered on the Focuss turn.
The non-focus characters contributing to a Teamwork
Stunt cant act more than would normally be possible
in a round. The point is to help each other and set
up a chain of short events that unfolds in the Players
favor. The Master then assesses the entire Teamwork
Stunt and assigns the Focus a bonus to their roll
based on that. Because more people are contributing,
Teamwork Stunts are often more powerful than
individual Stunts. This is to encourage the use of
Teamwork when individual abilities alone are not
powerful enough.
2.8.8 Combo Stunts

Combo Stunts are similar to Teamwork Stunts in
that they involve teamwork, but they function quite
differently. Instead of many Players contributing
to a single action, a Combo Stunt allows a single
character to use their turn to give another character
a bonus. The Stunt is performed like a normal RolePlaying Stunt, but the bonus is given to the target
character instead.
Combo Stunts can be passed on to another player

if the first target performs their own Combo Stunt.
This means that the entire team could theoretically
pass around a giant Combo Stunt bonus until its big
enough to use on the super-powerful villain. Beware,
though, because Combo Bonuses are used up and
gone after the player uses their action. If a character
fumbles their roll, they could drop the entire Combo
and lose the bonus.
A single player can only contribute to a Combo Stunt
once, so once the bonus comes back around, no one
else can add to it and the first character has to use the
bonus or its lost.
2.8.9 Ki Surge
Ki Surge is a special type of bonus that can be
performed after the dice are rolled and the outcomes
are declared. Players can perform Ki Surges on any
sort of roll as long as they can describe the effect.
To perform a Ki Surge, the player declares a Surge at
any time between the start of an roll and the Masters
description of the outcome. Its okay to interrupt the
Master for this, but doing so can be irritating to the
other players as it can slow the game down, so most
of the time the decision to perform a Ki Surge comes
down to how well you yourself rolled in the event.
When you declare a Surge, you also state how much
of your Energy youre spending on it. Energy spent
provides a one-to-one bonus on the roll.
After youve declared your Surge and stated your

new total, your opponent may decide whether to
Surge as well. If they do, they declare how much of
their own Energy theyre spending, and their own
new total. This can can go back and forth as long
as each party still has Energy to spend.
2.8. Combat
An example of a Combo Stunt would be one character

dousing an adversary with oil in preparation for a fire
spell from their teammate. Another might be the use
of tag-team tactics by a samurai and ninja pair.
The visual effect of a Ki Surge is almost always

astounding to those who witness it. Energy ripples
off the character in question, often taking the
form of one of their Traits or enhancing their Skill
in some mystical way. Make sure to describe the
effects of the Surge on your character.
2.8.10 Equipment Bonuses

When an artifact or special piece of Equipment is
used in a battle, it is functionally equivalent to a Trait.
It can be used in combination with other Traits or
Skills, or used for an Equipment Stunt the same way
traits are used for Role-Playing Stunts, leading to
bonuses on the roll. The only difference is the source
of the power. Equipment can be traded, given, or
stolen, where as Traits and Skills cannot.
2.8.11 Miscellaneous Bonuses

Miscellaneous bonuses are usually situational in
nature. Sometimes a shinshi who controls water
finds themselves in a battle on a boat, making them
massively more effective. Occasionally, a thief might
be forced to do battle while partially tied up, making
their attacks almost meaningless. Weather conditions,
environmental variables, and even, at higher Levels,
other characters can be used as Miscellaneous
bonuses, of a positive or negative value. This gives the
43
2.9. Out of Combat
Master a way to tilt the odds in one direction or

another for a whole combat scene.
2.9. Out of Combat

Depending on the type of campaign youre playing
in, combat may be only a small portion of the
game. There are lots of things to do in the world
of Kyokutou besides fighting. In this chapter, well
explore some of those actions.
2.9.1 Actions
Out of combat, characters usually have more time
and less distractions to deal with. For that reason,
there are usually fewer rolls outside of combat. Out
of combat situations are much more fluid and less
structured than combat situations. They are mostly
directed by pure role-playing.
Actions are are more flexible in what they can
accomplish. In combat, a single Action would be
equivalent to a single attack, where as an action
outside of combat might be substantially more
complex, such as forging a sword or crossing the city.
Many non-combat Actions are less contentious
than combat Actions, and do not require Skill rolls.
Crossing the city, for example, does not require an
Athletics roll unless youre trying to do so a quickly
as possible. The Master can ask for rolls on actions
that have a substantial chance of failure, or are
potentially too complex.
Out of combat actions can be strung together by
players when the situation is stable and under control.
You might, for example, have your character go into
a town, find the blacksmith, have their weapons
repaired, then visit a shrine and a temple to honor
their fallen adversaries, all in one action, when
the group reaches the town. The Master can either
describe how your events go, or they can interrupt the
sequence with new events for you to react to.
As usual, remember that Wa is collaborative. Its
better to work with the other players to direct the
action of out of combat scenes than to try to divert or
undermine them.
2.9.2 Professional Skills

44
Professional Skills represent the largest

section of non-combat actions available to
characters. These Skills are specifically designed for

use out of combat, when the character has time to
work. They are rolled when the outcome is in question,
particularly when a character is competing with
another, trying to do their very best, or attempting to
earn money or respect.
2.9.3 Tactical Skills

Tactical Skills, such as Stealth and Strategy, also
find much use out of combat, but they often lead to
combat situations depending on the outcome. Unlike
Professional Skills, they are often seen both in and
out of combat.
Tactical Skills, by definition, are about acquiring a
tactical advantage over an enemy or adversary. This
can result in a combat situation favorable to the
winner, a direct bonus given by the Master, or the
avoidance of a combat situation altogether.
2.9.4 Magic Skills

Magic Skills also see fair use outside of combat, and in
fact most people do not associate them with fighting.
These Skills are often used to influence the world in
subtle ways, such as asking for the blessing of the
Kami on an event or place, summoning incorporeal
mischief-makers to do ones bidding, or calling forth a
fog to hide in.
As usual, Skill rolls are only made when the outcome
is in question. A simple prayer wouldnt need to be
rolled, but a powerful summoning would, for example.
Magic Skills are often used in direct competition,
either in or out of combat. Non-combat opposed rolls
may develop into combat situations quickly, or they
may be much larger in scale, such as opposed weather
control attempts.
2.9.5 Attributes
Attributes are often used outside of combat.
Personality and Reputation can be used for an entirely
different type of confrontation. Health and Energy
Traits can be used for recuperating from debilitating
injuries or sicknesses. Movement and Initiative can be
used in the same function as Tactical Skills in some
circumstances.
Often in non-combat scenarios players find their

characters in situations where they need to perform
some action but there is no one to opposed them.
The Master will usually handle these situations
as Unopposed Skill Rolls, even outside of combat.
Examples of these sorts of situations include breaking
down a gate, finding their way when lost, and
manufacturing a large number of arrows while under
siege. As per the usual rules, the Master will decide a
Threshold for the roll.
2.9.7 Social Interactions

Unless the story takes place in the remote reaches
of the Kouyu Mountains, there will likely be a fair
amount of social interaction in the time outside of
combat. Players should use this time to articulate the
personality of their characters, explore aspects of their
pasts, and integrate themselves into the story better.
Depending on the style and themes of the game, the
players can also cultivate a number of relationships
with other characters, player or non-player. In some
games, players may find romance, rivals, families,
or even more insidious relationships. The type and
style of the relationships that occur in the story is
up to the group. Some groups are not comfortable
with romantic situations. Others are interested in
complex, gritty relationships rife with betrayal and
lies. Again, it all comes down to what the group is
comfortable with.
2.9.8 Travel
In Wa, the accurate depiction of every mile of stone
path isnt whats driving the game forward. Were
here for drama and excitement. Traveling crosscountry can be very uneventful, even in the more
heavily populated parts of the world. In general, long
passages should be glossed over unless some kind of
event occurs, or the characters need or want to talk
with each other.
Occasionally, the Master may judge that theres a
possibility of a random encounter on the road. This
happens regularly in the war zones of Mokutomo
and other dangerous areas. These events will tend to
interrupt glossing over travel, interspersing it with
more interesting bits of action.
2.10. Character
Progression
Character growth in Wa is mechanically controlled
by the Masters granting of Experience Points.
These points are used to gain new Attributes,
Skills, and Traits, representing the increasing
capabilities of the character.
2.10.1 Acquiring Experience
2.9.6 Unopposed Actions
Depending on the type of game youre playing in, the

Master may grant experience points for achieving
specific goals, at the end of a gaming session, or a
combination the two. No matter what format the
Master uses, your job as a Player is to keep the story
moving. Even if youre not receiving experience points
for specific actions, its just more fun for everyone
when the players show investment and are excited
about the game.
2.10.2 Using Experience

Points
Experience Points are used in the same way as Skill
Points and Trait Points. You can put an Experience
Point in any Attribute, Skill, or Trait that makes sense
for your character, as long as your Skills and Traits
dont exceed maximum values for your Level.
The maximum values you can have for Skills,
Attributes, and Traits are equal to the starting
values for the next Level. For example, a character at
Level 3 starts at 30 Skill Points and 12 Traits. Their
maximum values are 39 Skill Points and 16 Traits, the
base values for Level 4. This can be easily calculated
using the formulas in the Character Creation
chapters: Level 9 + 3 Skill Points, and Level 4
Traits per Level.
Level
Skills
Traits
0
3
0
1
12
4
2
21
8
3
30
12
4
39
16
5
48
20
6
57
24
7
66
28
8
75
32
9
84
36
This means that you can put points into Skills
and Traits in whatever order you want. You
45
could start a Level by spending Experience Points

on Skills until youve reached your maximum, then
switch to Traits, or you could simply take whatever
Skills and Traits look useful at a given time.
2.10.3 Recalculating Stats
Most of the time, you wont have to recalculate

much when you spend Experience Points.
Whenever a Skill goes up, you simply add a die to
your roll. Whenever you buy a Trait, you simply
write it on your sheet. On the other hand, when
you buy Attributes, you may need to recalculate the
value for it; simply use the formula from Character
Creation to find the new value. When you have spent
all your points and youve leveled up, youll need to
recalculate all your Attributes and Skills, but it should
only take a moment or two, since the only change
46
is that your Level (and thus the bonus for all your
Skills) has increased by one. Then you can get right
back to playing.
2.10.4 Leveling Up
You can think of Experience Points as being fractions
of a whole Level. Each time you use an Experience
Point to raise your abilities, youre getting closer to
the next Level. Once youve used all 13 Experience
Points, your character will be equivalent to one of a
level higher; you just leveled up. In this way, leveling
up occurs naturally in the course of using Experience
Points, rather than being a sudden leap in power.
Dont forget to recalculate your Skills and Attributes,
however, so you can benefit from your new status.
3.1 Overview
This scroll is intended specifically for Masters. It
contains information about how to run the game, how
to use the rules, and how to keep players entertained.
3.2. Play Styles

There are almost as many different styles of playing
role-playing games as there are gaming groups. While
Wa is squarely aimed at those who prefer story over
statistical combat, there are ways to accommodate
different play styles.
Keep in mind that these are tendencies and themes,
not specific goals. Most games fall into one or more of
these types, so its more of a sliding scale.
3.2.1 Hard and Fast

Some players prefer the story so much that theyre
willing to sacrifice statistics and mechanics to
facilitate the ease of getting into character. These
players are best matched up with a Master who can
think on their feet and are up to the challenge of
leading the players along an unwritten course. These
types of game are somewhat rare, and are sometimes
called freeform depending on the context. Masters
challenged with this type of play will need to be very
3.1 Overview
3. The Scroll of Mastery
decisive in their judgments, able to imaginatively and

creatively describe events at the drop of a hat. Because
there are fewer or no dice at all to rely on, conflict
resolution comes down to raw role-playing, which can
be hard on players or a Master who arent perfectly
comfortable playing a game without an unbiased
resolution mechanic.
The key in these types of games is to maintain
character. Players will need to be vigilant and flexible,
able to stay in character very securely, so that the
players aspirations dont influence the characters
actions overmuch. The Master will need to be able
to pick up and put down non-player characters
quickly and seamlessly, to keep up with the fast pace
of the story.
As a Master, it pays to have a flexible, changeable plot
laid out far into the future, so that as the players whisk
through your storyline, you have the ability to refine,
tune, or completely change your plot as necessary. In
this sort of game, it can be harder than normal to get
players to do what you expect them to, so be prepared
to follow them just about anywhere.
3.2.2 Meticulous Detail

The exact opposite of the hard and fast way is the
style of meticulous detail. Games played this way
are more like Dungeons & Dragons, with
specified resources, more random elements
in the gameplay, and a focus on rules and
47
3.2. Play Styles
limitations. These sort of games are often the province

of players who are competitive and enjoy building
elaborate characters with powers that work together in
complex, synergistic ways.
These are also the sorts of games where individual
pieces of equipment may be tracked, adding to the
tension of being low on resources. These games often
focus on the gritty realities of tough situations, with
the Master forcing the players to make hard choices.
It can be difficult to run a game of Wa in this style
because of how flexible the rules are. If your group
insists, try adding some of these optional rules:
Players must keep track of all items their character
has in their possession.
Energy is now used to initiate any kind of Stunt,
at a rate of one Energy per attempt. Players cannot
attempt Stunts if they have no Energy.
Characters heal slowly, regaining only as Current
Health per day as they have Points in Health.
Energy can only be regained through prayer
or meditation, which takes time at an altar,
shrine, or temple.
If a characters Current Health drops
below 0, they die.
3.2.3 The Middle Way

The normal, proscribed method for play is to simply
follow the rules as written in the Scroll of Laws. This
is the middle way, between the extremes of rulesheavy and rules-light. It is specifically designed to
accommodate more story than an average role-playing
game, but still has enough rules to make
combat fair and balanced.
48
Its important to remember that the middle way

focuses on collaborative storytelling. If your players
want to challenge you, or you prefer the players to feel
like their characters might die at any time, the middle
way might be difficult for you. While the middle way
doesnt put the characters directly on the chopping
block, it doesnt afford them so much freedom that
they can do whatever they want.
To some Masters, especially those more experienced
with table-top wargames, the middle way will still
appear to soft. We urge you to think less about death
as a punishment for a characters failures, and more
about the failure itself. What happens when the
players fail to rescue a village elder? The village might
collapse, leading to a terrible stain on the players
reputations. What happens if one of the characters
is knocked out in a fight? They might be kidnapped,
taken hostage, tortured, or even brought into the fold
of the enemy. Remember that there are always fates
worse than death, especially for characters who care
about others.
3.2.4 The Comedy

Some gamers dont dig on melodrama, man, and
thats okay. Some people just want to have a good time
storytelling with their friends. Treating the game
as a comedy can go a long way to tailoring it to that
sort of group.
Sometimes, anime and manga are just ridiculous.
Try incorporating some of that aspect into the game,
to maximize the potential for funny situations, jokes
and messing around. In a comedy-style game, much
of the fun is in flawed characters dealing with each
other poorly, so make sure that the characters have
If youre really aiming for the sky, treat the whole

game as an episode of a fictional anime show, where
youre the director/artist/writer, and the player
characters are fourth-wall-breaking b-movie actors
who botch their lines and make asides to the audience
all the time. Kick that fourth wall right in the gonads.
3.2.5 Playing Small

Sometimes its hard to find a big group to play with.
Other times, you just want to do a small, intimate
game detailing the trials and tribulations of a single
main character. Or perhaps youre just interested in
a new way to spend time with your significant other
that doesnt involve television. Its perfectly okay to
play Wasuremonogatari with as many or as few people
as you want. You can play with a group of five or six,
or you can play with two or three.
Smaller games tend to focus more on a few characters,
of course, and this means that those characters get
more screen time to showcase their various flaws,
abilities, and goals. This can be great for building
the story of a few characters, but for other players
its too intimate and intimidating. Make sure you
and your players are comfortable in the group before
playing this small.
3.3. Involving the

Players
As the Master, its your job to involve the players in the
game. Making sure the players and their characters
are well integrated into the story are important to
making the game fun. In this chapter, well go over
some techniques to help facilitate this.
3.3.1 Motivations
The most important thing you can do to help player
involvement is to determine (as best you can) the
motivations of both the players and their characters.
For example, one player might claim to be interested
in the politics of the Succession, but might find
more thrills in the full scale wars instead. This isnt
necessarily intentional, it just goes to show that
role-playing games are dynamic and its hard to
predict what will be most enjoyable. If you know what
they players are interested in, you have options

for directing the game. If you dont, you run the
risk of boring your players with stories they dont
necessarily care about.
Much of the time, this will come down to paying
careful attention to how the players react in
the different situations theyre presented with.
Sometimes, theyll be hanging on your every word,
other times, theyll be fiddling with their dice. Try
to keep track of what the group enjoys the most, so
you can use that information in the future.
character, even if theyre flat and dimensionless. Play

that up, if thats what helps.
3.3.2 Integrating the

Backgrounds
One very good way to get your players engaged is to
integrate their characters from the very beginning.
You can usually do this by carefully molding the
backgrounds of all the characters together so that
theyre all related before the game even starts. Perhaps
the enemy mentioned in one characters background is
the disfavored uncle of another, or perhaps someones
rival turns out to be another party member. This is
often easier when the players give you lots of hooks for
their character, so do your best to encourage this.
The trouble with integrating characters into each
others backgrounds is that you can run out of hooks
to utilize. You want to save some of those hooks
(plot ideas, characters, etc. mentioned in the players
backgrounds) for your story and villains as well. What
better a way to introduce a bad guy than drawing on
an adversary that bested one of the players in the past?
With complex backstories, this can go a long way to
building a game plot from nothing but the characters
backgrounds. This makes the players feel like the
game is actually about them, not just some drop-in
heroes who happen to be playing this adventure
scenario packet.
Depending on the players and how inventive and
creative they are in character creation, it might be
better to meet them half-way on their backgrounds,
letting them determine the broad strokes, while you
fill in the details so you can better integrate them
all together.
Its also sometimes possible to invent character
background in the middle of play. In anime and
manga, this often shows up as the unplanned addition
of a new character introduced as someones relation,
and it can fall flat on its face if there hasnt
been any information about that character
49
ahead of time. But if you carefully mention it

beforehand, you can occasionally insert people
from the players pasts, explaining that they just
hadnt been important to the story before.
Its also usually a good idea to allow for some backand-forth over the character backgrounds, because
what you find interesting might bore the player or
vice versa. Its always better to try to handle that
outside of the game session, so it doesnt interrupt
the flow for everyone.
3.3.3 Directing Without

Dictating
Player engagement only begins with their background.
Its important to make sure that the players are
integral to the story throughout the game. In general,
the game should be about them, not some other
heroes off doing other things. Make sure the players
are almost always pivotal to how the story happens.
Paradoxically, it often helps the players to feel invested
when the triggering events of the story happen
outside of their control. Imagine you have a group of
mercenaries for a party. You might think that theyd
like to be there in the room when war is declared,
with the option to change the course of that event, but
its often better for them to react to major events like
that, rather than have the ability to change them. In
this example, itd probably be better for them to be
told that war has been declared by the other faction,
and that theyre being asked to help the defenders.
Instead of giving them the chance to subvert a major
plot line and accidentally take the game into territory
they wouldnt enjoy (and you dont have planned),
you place the triggering event where they cant effect
it, and are forced to make choices about how they
deal with that event. This way, you can direct the
overall series of events according to your own plan,
but you can also allow the players to vastly effect the
course of the game.
You can also use this technique to integrate the story
ideas brought by the players into your own plot line. If
the players are interested in ideas or themes that your
story doesnt have, you can insert these themes by
gently guide the players in that direction by presenting
events that occur that the players can choose to
investigate. Just be sure that the option is real, and
that the players can pursue those events without
breaking character.
50
Remember also that players are well-known for their

ability to jump plot lines and pursue courses of action
no one could have anticipated. Being a flexible Master
is important both for keeping the game moving
smoothly and avoiding the trap of over-planning the
story. Players presented two options will often choose
a third (or fourth, or fifth), as that is the essence of
problem-solving, a core trait of players. Its often better
to present challenges without presenting solutions,
letting the players uncover hints towards the solutions
you want them to take. Let them feel like theyre in
control of their characters lives, and theyll be happier
to play along.
3.3.4 Rolling with the

Punches
There will come times when the players do simply
walk off the map. Sometimes a player will suddenly
take an interest in a detail mentioned in passing.
Sometimes a non-player character proves to be more
interesting than the villain. Sometimes the current
story just runs dry and the group needs something
to invigorate it. In these situations, skilled Masters
seamlessly divert the story along a new path, exploring
whatever events, characters, or themes the group is
showing interest in. Most of the time, this means
flying by the seat of your pants, making up the story
as it goes along.
For some Masters, this is how they run most of
their games. For others, this sort of thing can be
very difficult. In the end, remember that this is a
collaborative game and just follow the cues the players
give you. If they pursue some lead that takes them the
long way around, dont quash their interest by making
the lead turn cold, make it interesting for them. Use
any of your resources to fill in the details as much as
you can, and do your best to make up the rest.
Sometimes, in these situations, its okay to admit
you dont have anything prepared for that direction.
Call for a pizza, take a break, or make an excuse for
the player characters to spend some time talking
amongst themselves (which many parties have a bit of
a problem with anyway) and take a moment to think
up some ideas to use for the direction theyre taking
the plot. Its better to take an actual break and let
things settle out than to try to limp along as you lose
engagement and excitement.
3.4.1 Believable Motives
Heroes are only as great as the challenges they

overcome. The corollary to this rule is that you must
create great villains to for your players to defeat. This
is a more difficult task than it seems at first. Complex,
realistic villains that can get the players to really want
to beat them are hard to come by. Most of the time,
the players are carried forward under the momentum
of being heroes, challenging villain after villain just
because theyre targets. Most of the time, the key to
dramatic adversaries is making them so contrary and
antithetic to the player characters that the players will
go out of their way to find and stop them. Ultimately,
you want your villains to be almost as memorable as
the player characters.
The first step to establishing a memorable, realistic

villain is to find and establish a believable motive.
3.4. Antagonists
3.4. Antagonists
Fortunately, in the world of Wa, there are many

factions fighting each other. Most of these are
set up so that they can be portrayed either as
heroes or villains; use one clan as the protagonist
faction, and another clan becomes the antagonist,
and so on. Idealogical differences make for very
believable enemies. Part of the theme of Wa is the
idea that no one is really right, and no one is really
wrong, and that people have to do their best given the
situation theyre in. Duty and honor can cause many
a conflict. Often-times, enemies created this way are
more anti-hero or anti-villain than villain, merely
working for different, usually conflicting, goals than
51
3.4. Antagonists
the players. This can make for very interesting and

memorable adversaries.
On the other hand, sometimes its good to have
villains who are Evil, with a capital E. We urge
you to be careful with evil, because its used all too
often as a cheap escape route for a villains intent.
The villains motive should be an evil motive, not
evil itself. This goes along with the idea of active
participation rather than passive participation. The
adversaries should do evil, not just be evil.
There are many ways to portray evil, but all of

them relate to how they treat others. Make sure that
you try to pick something specific, so that you dont
fall into the trap of a generically evil villain. Consider
using traits like sadism, sociopathy, exploitation,
extreme selfishness, and the corruption of power.
Dont forget to modify these base elements as well,
just like for a normal character. A sadistic villain will
appear flat next to a sadistic villain who is horrified at
their own actions.
Some evil villains are redeemable, others are not.
Which one you choose to use is up to you and how
your story is planned. For example, it makes more
sense for a villain to be able to see the error of their
ways when faced with a party of monks, priests,
and other spiritualists. On the other hand, it makes
less sense for a powerful demon possessing great
knowledge of the supernatural to be turned to the side
of good when faced with the same choices.
These two basic types of motivation apply to any
adversary you throw at the players, from giant sealed
yajuu dark gods to a rival of equal level and skill.
3.4.2 Interesting Monsters

The monsters of Japanese legend feel quite foreign
to western audiences. This can be good or bad,
depending on the degree. If a monster is too foreign,
the players may not understand it well enough to
be intimidated by it. Take for example a long-nosed
old man with raven wings. Most western audiences
wouldnt have a frame of reference to compare the
creature to, but in Japan, the tengu is steeped in myth
and legend. This problem arises less with the more
popular legendary Japanese creatures, such as the
nine-tailed fox or Kitsune, or Japanese Ryuu dragons.
Ultimately, youll probably end up needing more than
come to mind. The trick to using the new ones
effectively is to be very descriptive, both
before the players encounter it, and during.
52
Describing what foul deeds the creature has done and

what sort of carnage it has left behind can go a long
way to making a previously-unknown creature more
than just sword-fodder.
For some groups, it may be useful to describe some
creatures in terms of similar entities in other games.
An oni might be described as being superficially
similar to a balor, for example. For other groups, this
can distract from the theme of the game.
Because of the dynamic, fluid nature of the Spirit
World of Wa, you should also feel free to modify
monster archetypes to suit your story. This can even
lead to dramatic scenes where the players think they
know whats coming, but theyre deeply mistaken.
3.4.3 Rivals
Rivals are usually used best as foils for the true
adversaries. They present challenges to the players, but
they are often on the same side, or at worst a side that
isnt directly competing with the players. They fight
and bicker with the characters because they disagree,
not because they despise each other.
Rivals are also useful as recurring characters. They
have a tendency to show up like bad pennies, when
the players are least expecting them. They often
complicate matters without being the direct cause of
the conflict.
Rivals are most useful and dramatic when their role
changes. It can be very exciting to join forces with
the opposing team to fight the big bad, and it can be
very scary indeed when the old rival turns to the dark
side and really starts trying to kill the players. This
is because the relationship is already established and
carries meaning to the players and their characters.
Be careful that your rivals dont always follow the
same script, however, because the players may grow
to anticipate betrayals or changes of heart. Usually,
you can minimize this by disguising rivals or by
integrating them into the story so deeply they cant
really be referred to by their archetype. This can take
the situation from any rivals I have always turn evil
and betray me, to Everyone I know betrays me in
the end, a much more powerful and in-character
line of thought.
Anti-villains are essentially villains who lack certain

villainous traits, or have heroic traits that balance out
some of their negative characteristics.
Anti-villains often have standards that set them apart
from the truly evil. Some will go out of their way
to avoid casualties, others refuse to harm those the
perceive as innocent. Others act out of some code of
conduct, whether the actions are right or wrong.
Anti-villains are often more philosophical than
normal villains, both in character personality, and in
how the players end up dealing with them. They are
also some of the most likely adversaries to actually
defeat the players, as they often lack enough evil traits
for others to condemn them completely.
Anti-heroes are the inverse of this phenomenon. They
are heroes who lack certain heroic traits, or have one
too many villainous ones to appear righteous. Antiheroes are often presented as the flip side of the coin
from the heroes, just a step down the wrong path.
They are often very critical of the high-and-mighty
players, claiming that there is no way to do what they
must without dirtying their hands.
Anti-heroes range from being slightly less than
paragons of justice to barely better than the villains
themselves. Depending on the story, they may be on
their way up or down the villainy scale, eventually
redeeming themselves or falling into the black abyss
of actual evil.
3.4.5 True Evil

Sympathetic adversaries are all well and good,
but some stories require enemies that are truly,
fundamentally evil. Fortunately for the game and the
story, these entities do exist in the world of Wa.
It is a dark secret that demons are not wholly evil,
as most mortals believe. In truth, most demons are
merely unable to control the powerful emotions
they are cursed with. But there are some who have
completely forsaken the desire to control themselves
and given in to their passions. There are even those
who have mastered themselves and chosen despite
this to commit evil against the world. This is the
most fundamental type of evil in the world of Wa:
the intentionally immoral. There are of course
also humans, spirits, and even kami who have

forsaken morality.
Despite the existence of true evil, its possible to
describe some beings as evil by categorizing them
as opposing their own race or group, as happens
most often in the mortal world. Usually, people
labeled as evil are merely following different
social rules or pursuing different goals than the
norm. But nevertheless, there are individuals who
are truly evil, applying their sadistic, selfish, cruel,
dispassionate, and hateful tendencies to any and
all creatures they meet, whether they are mortal,
spirit, demon, or god.
3.4. Antagonists
3.4.4 Anti-Villains & AntiHeroes
There should always be comparatively few of these

adversaries in a game, and many games will proceed
just fine without ever encountering the truly evil. This
rarefied level of malevolence is usually reserved for
very dark and gritty games, because these are the only
scenarios where its possible to really showcase how
deeply evil the entity/creature/villain is.
Also remember that just being truly evil is not a
motive or a reason itself. Even the truly evil have
reasons for the depths of their corruption, though
their reasons are often far grander in scale than the
reasons of mere mortals.
3.4.6 Winning and Losing

Its often said that there are no winners or losers in
role-playing games. This is usually true of the end
outcome, but can be inaccurate when describing the
state of a game in progress. It is sometimes useful
to describe the progress of the players against their
adversaries in terms of winning and loosing,
the same way one can be winning or losing a war
still in progress.
As the Master, its your job to carefully modulate who
is winning and who is losing so that there is both
tension and conflict in the story. Usually, this comes
down to making sure that neither side is winning for
too long. Players will rapidly grow tired of a game
where they cant beat the challenges thrown at them,
but they will also get bored of a game where nothing
provides a challenge at all.
Great Masters are good at knowing when to tip the
scales from one side to the other. They can sense
when the story has been going too long in one groups
favor, and time changes in the power balance
to take advantage of that. This is often done
53
3.5. Adventures
for dramatic effect, maximizing the story potential

of the changes.
3.4.7 Maintaining
Suspense
The ability to maintain suspense is a difficult

one to acquire. It takes practice to be able to
relate a story in a way that keeps the players
excited and interested in what happens next.
There are some general rules that can
help, though.
The first and most
obvious is to
protect your
plot from the
players. Dont
tell them whats
about to happen, and diffuse
questions to ascertain the future. This
probably wont come up much as its
second nature to most experienced
role-players.
The next is to maintain the suspension
of disbelief. Its much harder to create
suspense out of character than it is to do so
in character.
Next, feel free to change the plot or modify the
elements of things before they occur. Sometimes
its helpful to extend or shorten a situation or
scene so that the unexpected occurs.
You should also feel free to set up or use red
herrings in the plot as well, as long as the players
are making some kind of progress. The best use of a
misleading clue is not to foil progress, but to uncover
new problems that complicate the situation.
aspect of communication in role-playing games,

mostly because theyre difficult for the Master to
properly plan. Making sure you know your non-player
characters and how they feel about the events of
the story helps.
Lastly, in the details of individual scenes, make sure to
pace your descriptions for suspense, if thats the goal
of the particular scene. Dont describe the monster
too early, but give enough clues for the players to
start forming their opinions. And remember,
sometimes, its better to surprise them with the
unexpected but plausible than to give
them what they were prepared
for and expecting.
3.5. Adventures
Adventures are large plot arcs that
provide structure for the story of
the game. A single adventure is usually
more than one session but can span many
or just a few.
Adventures are often mostly self-contained, so
that what occurs in one doesnt necessarily require
specific events from another to have occurred.
Each adventure usually has some specific focus,
a lot like a plot arc in an anime or manga. In this
chapter, well talk about planning, detailing, and
running adventures.
3.5.1 Building Plot Lines
Foreshadow as much as you can safely reveal,

particularly if you can find ways to make the obscure
the true nature of the signs. It can be very powerful to
reveal that a secret the players thought they knew all
along was actually completely misunderstood.
Many writers use a recursive method for designing

stories, and thats what we suggest for designing
adventure arcs, because it allows you to think ahead,
be flexible, and still come up with reasonably detailed
events to throw at the characters
Learn to pace your encounters and combats so that

the players dont get too far into the villains minions
too fast, or uncover more at a time than they need to
for the sake of progress.
The basic method of recursive planning is to take

the elements you have sketched out and detail them
out with more specificity. You do this several times,
iterating on each level to create more and more detail,
until you have enough detail to run the game from
your plan. Its often nice to go one level of detail
deeper than you think you need so that you have easy
material if the game stays on course. If it veers, you
Have characters lie. It happens, especially when

someones honor or safety is at stake. Lies and
misinformation are a drastically underused
54
Once you have a decent set of events, you can

then go and detail out any non-player characters,
challenges, obstacles, or monsters that you need
for each of the events. With enough time, you can
even prepare the entire arc in advance, though its
often better not to over-plan so you dont have to
rewrite your enemies to re-balance them later.
Lets explore an example to illustrate. The starting idea

for our adventure is a border conflict in the Succession
Wars. Our next level down, we start creating
individual parts of that conflict, such as:
3.5.2 Increasing
Challenges
1 The scouting phase

2 The arrival of the enemy army
3 The siege
4 The overrunning of the city
5 The counterattack
6 The victory
By using the method described above to design your

story, you can easily build increasing challenges
3.5. Adventures
already have a goal for the story that you can redirect
the action towards. Sometimes, when the players get
really far afield, you can even skip elements from
the adventure arc and move on towards the next key
event. This makes it so both you and the players have
some control over the game, without stepping on each
others toes too much.
Each of these is almost like an episode or chapter,

and we detail each of them out the same way. For
the overrunning of the city, we can generate the
following details:
1 The duel of the champions
2 The fall of the generals camp
3 The The last line of defense
4 The enemy invasion
5 Regrouping in secret
Notice that we start with events that tie into the
previous episode/chapter and end with events that tie
in with the next. Doing this for each element allows
us to easily break down the story into manageable
chunks. Depending on how many levels deep you go,
and how many of the events you can run through in
a single session, you can even turn a short arc into
a long one by adding details and complications at
lower levels.
into your game. This is desirable because the vast

majority of stories move from relatively low conflict
to relatively high conflict, and its what most gamers
expect in a story. Consider the very simple concept
of a boss character; they arent a boss if they are
fought early on and never fought again. The boss
naturally stands at the end of the story or arc, stronger
and more powerful than anything the heroes have
faced so far.
There are several ways to increase challenge over
time in Wa. First, you can simply place higher Level
adversaries towards the end of the story. You can also
just keep increasing the enemies as well, but both
of these methods are fairly basic. You can also start
manipulating the challenges of the story themselves,
going from something like fighting a band of brigands
to hunting down a corrupt youkai responsible for
plagues and chaos. While the enemy is of course
stronger towards the end, the important matter is
how complex the task is. You can also increase the
risk of the challenges, putting more and more at stake
with each chapter of the story. Lastly, you can
increase the emotional weight of each part,
55
usually by drawing on the relationships,
3.5. Adventures
good and bad, between the players and the other

characters. Most of the time, youll end up using
more than one of these methods, blending them
together for your particular story.
3.5.3 Recurring
Adversaries
The most memorable adversaries tend to stick

around for more than a fight or two. The best ones
constantly plague the protagonists, harassing them
and diverting their resources away from the really
important (and generally end-game) matters at stake.
Recurring adversaries make the game more personal,
because the relationship between the characters is
built up and established and has time to grow into a
very complex conflict.
Oftentimes recurring adversaries do not participate
in combat directly, working through intermediaries,
minions, and the like. On one hand, minions are
often simply cannon fodder red-shirts who have no
personality and thus are incapable of intimidating
the players and creating tension. This can be dealt
with by making sure that the combat situations are
always dangerous, even against the low level mooks,
56
or by creating different groups of minions with their

own hierarchy of combat power. On the other hand,
sometimes the best intermediaries are people the
players are surprised by or even care about, such as
townsfolk, manipulated merchants or leaders, or even
the loved ones of the player characters. Recurring
villains often exploit and corrupt others to force them
to do their dirty work. This can lead to complicated
or very upsetting situations unless the Master is
very familiar with the players and is able to carefully
adjust the story on the fly to make sure the game runs
smoothly. Drama is important, but sometimes taking
out the family is a bit much. Caution with is always
recommended when dealing with corruption.
3.5.4 Staying Fresh

Players can grow bored of the same sorts of challenges
through every game. In general, its best to mix up
the types of problems encountered from time to time,
depending on your players. Follow the story, and
youll probably find some opportunities to expand the
challenge selection. Even in a war, supply lines can be
attacked, there are sieges, and occasionally subterfuge
is required. Even political thrillers can benefit from
5 Spiritual Conflicts
6 Supernatural Mysteries
The real trick to staying fresh is to not go too far

abroad to keep things new. Many players have a
specific idea in mind for the game, and they can get
turned off by a sudden turn of events that takes the
game down a different road. Make sure that your new
challenges arent too far away from the direction the
story was headed and that they stay plausible.
1: Uprisings (1d6)
3.5.5 Ending the Game

Every game comes to an end eventually, whether
intentional or not. Many just slip off into the mists
of the forgotten when the group breaks up or stops
attending. Others are punctuated by school or work
schedules. We encourage you as the Master to handle
the end of the game with some finality, so that the
players have some closure on the story.
Many long running anime and manga encounter
the dreaded filler episode, and while playing filler
episode sessions can be amusing from time to time,
its usually better for the overall dramatic health of
the game to have a defined arc with a defined end
to it. Stories planned out in this way tend to avoid
aimless wandering a bit better and keep the players
entertained. By planning the plot using arcs as
described earlier in this chapter, you can effectively
set up a game that can either be ended at the end of
any arc or be extended into the next. This way, your
players wont be left hanging, but there will be the
option to pick the story back up if desired. It can
even encourage the players to take ownership of their
characters, writing stories about them or transporting
them to other games of Wa or beyond.
3.5.6. Adventure Seeds

3.5.6.1 Sample Ideas
These are sample ideas for stories. Simply roll once
to determine the conflict type, then roll on the
appropriate table. Remember to modify or manipulate
the idea so that it fits in your story.
Conflict Type (1d6)
1 Uprisings
2 Skirmishes
3 Battles
4 Villainy
1 Exploited dorei escape their master or area

2 Ningen commoners rebel against their
reijin masters
3 Non-clan merchants buy a mercenary army to
fight the local clan
4 An oppressed tribe of hanjin rebel
5 Remnants of an ancient anti-Empire faction seek
to disrupt the Succession
8 Rebellion in the Spirit World spills over into
the Mortal World
3.5. Adventures
the occasional youkai slipping into the court to cause

some trouble.
2: Skirmishes (1d6)
1 Bandits attack supply lines between towns
2 Bandits raid a temple or shrine
3 Expensive mercenaries are hired to protect a
seemingly normal village
4 A well-funded merchant battles a clan detachment
5 A mysterious group of rei and youkai are
encountered on a mission in the mortal world
6 A major ninja war breaks out among the shadow
clans, causing widespread chaos
3: Battles (1d6)
1 Succession War battle between clan armies
2 Battle over major tactical control point
3 Battle of honor between two generals or champions
4 A temple or shrine is under attack by a
foreign enemy
5 A squadron of soldiers from the Spirit World
appear to do battle with a band of oni
6 Two or more elite detachments face off with
champions leading the charge
4: Villainy (1d6)
1 A well connected criminal becomes a
powerful warlord
2 A strong general takes up a new, sadistic hobby
with his prisoners
3 A powerful daimyo is being manipulated without
his knowledge
4 A sorcerer is using dark magic to absorb
innocent spirits
5 A magician has discovered a way to tap into
demons for extra power
6 Something sinister is manipulating the events of the
Succession Wars
5: Spiritual Conflicts (1d6)
1 A minor infestation of spirits
2 Yuurei are drawn to a local graveyard on a
massive scale
3 A dangerous youkai wants to make a deal
57
3.6. Rules & Mechanics
4 Two rival kami cause complete havoc while

trying to defeat each other
5 Oni pour out of a gate and begin taking over the
land using corrupted magic
6 A grand spell sealing a great and terrible yajuu
begins to break
6: Supernatural Mysteries (1d6)
1 Something is eerily wrong with people from a

particular town
2 A local shrine is enchanted by a mysterious
power with cursed side-effects
3 A seal is discovered on a stone slab
under a temple
4 All the priests of one particular sect begin
behaving differently
5 The ancient grave of a sealed kami is uncovered
6 Kami are going missing
3.5.6.2 Conflict Generator

This is a simple generator for creating conflicts
between two groups. It can be used as a story starter
or as the basis for missions the players are sent
on. Roll once on each table, making a note of each
selection, then combine them to create a storystarter sentence.
Type (2d6)
2 an elite
3 a mystical
4 a blessed
5 a small
6 a large
7 a weary
8 a veteran
9 a well-armed
10 a vicious
11 a malicious
12 a corrupted
Group (2d6)
2 martial arts dojo
3 ninja corps
4 band of
spiritualists
5 clan army unit
6 specialist unit
7 mercenary group
8 mob of bandits
9 hidden monastery
10 shadow clan team
11 Black Cult cell
12 group of spirits
58
Verb (2d6)
2 prepares a political trap for
3 infiltrates
4 guards
5 investigates
6 is tracking
7 attacks
8 raids
9 has set up an ambush for
10 seeks to assassinate
11 is giving aid to
12 member has fallen in love with a member of
Reroll Type (2d6)
Reroll Group (2d6)
Situation (2d6)
2 in an area of spiritual disturbance
3 in bad weather
4 on a spiritual holy day
5 in broad daylight
6 under cover of fog
7 at night
8 using ninja agents
9 at an important site
10 across rough terrain
11 under attack from another faction
12 for the bakufu
3.6. Rules &

Mechanics
There are few mechanical rules to Wa, but there are
a number of non-mechanical rules and guidelines to
the game in addition to the character rules presented
in the Scroll of Laws. This chapter talks about
how to use them.
3.6.1 The Golden Rule

The Golden Rule of Wa is
entertainment. All other rules are
subsidiary. Mostly, the other rules
exist to give a framework that you
can use to create tension, excitement,
and drama, thus leading to an
enjoyable session. If anything gets in the
way of that for your group, it should be
reconsidered.
Keep in mind though that every game has its ups
and downs. If a rule or trope or theme doesnt work,
3.6.2 Calling for Skill Rolls

Call for Skill Rolls only when the matter is
contentious, dramatic, there is a decent possibility of
failure, or when failure is dangerous or catastrophic.
In general, call for a skill roll when the action is risky.
Do not call for a roll
Crossing the street
Ordering a meal
Performing day-to-day duties
Training in a martial art
Do call for a roll
Crossing the Street while being shot at by archers
Ordering a meal from a possible ninja agent
skilled in poisons
Performing day-to-day duties without revealing the
assassination plot against the daimyo
Training in a martial art known for killing most of
the students who attempt to master it
3.6.3 Opposed and

Unopposed Rolls
Opposed rolls are specifically for when two or more
characters are competing over something. Obvious
examples are combat rolls, initiative, stealth, and
chases. Some less obvious Opposed rolls might be
bargaining, negotiation, overland tracking, tactical
troop disposition, or navigating a warship in battle.
Unopposed rolls are for when a character attempts to
do something but no one is directly interfering with
them. Examples of Unopposed rolls would be forging
weapons, crafting items, performing, or producing art.
Most Professional Skills are usually Unopposed.
Note that it can be very useful and suspenseful to
bluff players by using an Unopposed roll instead
of an Opposed roll. Opposed rolls can be turned
into Unopposed rolls by assuming the dice rolled
3 (explained below), or by rolling the dice covertly.
This is very useful for stealth rolls and other
covert operations.
3.6.4 Taking Three

Sometimes, specifically when you dont want to
spend the time rolling the dice for a given action,
you can safely just take 3. This means you assume
you rolled a 3 on the dice and calculate from there.
This allows you to create passive stats (particularly
useful in some stealth scenarios) or just skip
rolling dice to keep the game moving forward.
it could just be the situation. If it continues to cause

problems, its time to think about throwing it out,
replacing it, or modifying it.
Keep in mind that 3 is slightly below average for

1d6 (the average roll is actually 3.5) and it only gets
worse compared to the average roll of more dice. We
suggest taking 3 because it trades a mechanical benefit
for speed; better rolls ought to be rolled, rather than
taken. Taking 3 is lower risk than rolling the dice, and
so the reward is appropriately less.
You can allow players to also take 3 in your game,
but consider that if the players can take 3, why should
there be a Skill check there at all? Why waste time
calculating the number when you can have the player
talk about the action theyre taking instead? Taking 3
is usually set aside for the Master because you already
have enough going on while running the game, and
taking 3 allows you to prepare some things in advance
so you dont have to halt the story to calculate a roll.
3.6.5 Untrained Rolls

Sometimes a player wants to attempt an action they
have no training in whatsoever. This is fine, it happens
to a lot of people in conflict situations because its very
hard to be prepared for everything. When this occurs,
you have the same options as when a player attempts
any other action: either have them role-play the action
and judge the result yourself, or have them roll and
describe the outcome after.
The problem is that characters who lack Points in a
Skill have no dice to roll. If they have a Trait in that
Skill, they can use their static value (as though they
had rolled zero), but if they have neither Points nor
Traits in that Skill, they must roll Untrained, which is
a special case.
To do an Untrained Roll, simply roll 2d6 and take
the lower of the two, and add no bonuses. Stunts
can be attempted to boost this roll, but they need to
take into account that the character has no training
in that area.
59
3.6.6 Stunts and bonuses

As the Master, it is your job to judge stunts for roll
bonuses. This is one of the most difficult aspects
of the game, but it need not be intimidating.
Remember that the game is collaborative and that
were all here to have fun and tell a compelling
story. Here are the basic numbers:
Weak: +0
Good: +1
Great: +2
Amazing: +3
Incredible: +4 or Automatic Success (your choice)
Its important (for the Master and the players both) to
remember that judging stunts is ultimately subjective.
Everyone may have a different opinion of a given
stunt, but youll ultimately be the one to decide how
much of a bonus it gets, based on how the player
did, how excited and invested the other players
have gotten, and how the stunt compares to other
recent stunts.
If youre uncertain about a stunt, you can always see
what the other players think, though if theyre the
sort who still play the game like its a competition
against the Master, theyll always err on the high side.
After a few sessions, youll get a feel for what an okay
and a great stunt look like, and the players should be
adapting to your way of judging stunts.
3.6.7 Critical Bonuses

Critical rolls are not included in the core rules of the
game for three main reasons: they add unnecessary
complexity to combat, because Wa values players roleplaying more than chance, and because they can be
difficult to calculate probabilities for, especially using
virtual tabletops. However, for many players, this
extra element of chance can be quite exciting. Here are
several variants of Critical Hit rules that you can use
in your game.
Single Bonus: If any roll has more than one die that
comes up 6, that roll is treated as a 7. There are no
bonuses for more than two sixes. This effects the
mechanics of the game the least, but still gives the
players a chance for a critical hit.
Multiple Sixes: For each 6 rolled past the first, add 1
to the roll total. Rolling a 4, 6, 6, and 6 results in a 8
on the die. Then add modifiers as normal. This
means that it is now beneficial to put many
points into individual skills, because more
60
dice can now result in ever-higher numbers, unlike

the normal system where its not very useful to put
more than 6-7 points in a given Skill.
Grouping: Add 1 to the roll for each multiple group,
i.e. rolling 2, 2, 3, 3, 4 would result in 6 on the die, +1
for multiple 2s, and +1 for multiple 3s. This limits the
possible bonus to +6 on the die, no matter how many
dice are rolled.
Bonus Die: When two or more sixes are rolled, roll an
extra die. The result becomes the result of that die + 6:
1, 3, 6, 6, with a reroll of 4 becomes a total die roll of
10. This means that players will want more points in
individual Skills. Be careful with this one, as it means
that high numbers are achievable even at relatively low
levels, which can make combat difficult to predict.
3.6.8 Using Traits

The skilled use of Traits is even more important for
a Master than it is for players for the simple reason
that while the group has a general idea of what the
player characters are like, they Masters non-player
characters are often not as integral to the story
and may not have been described until they come
into play. Traits are therefore vital to the players
understanding of the non-player characters.
Fortunately, they are also useful shortcuts for the
Master to remember the attributes of the of a given
non-player character. They can act as archetypes and
cues that you can use to improvise with. They can
also help you differentiate one character from another
for the players, playing up the presence or absence of
specific Traits for memorability.
3.6.9 Recuperating
The general rule for most combat situations in the
normal level of detail is that both Health and Energy
refill between each scene. This makes for exciting,
cinematic combat, where they players can jump from
combat to combat without having to take breaks for
long periods. Many anime seem to follow this rule
as well, for the same reasons that we use it: we dont
want the action to get put on hold for the group to set
up camp, break out the cookware, and get some zees.
Many times, the heroes take a brief brake to catch a
second wind, and keep right on going, often stepping
up their game to match the even greater stakes of
the next scene. In this way, the combat of many
adventure franchises could be interpreted as having
There are, of course, situations where its more

dramatic for recuperation to take longer, in sieges or
when dealing with poisoned or cursed wounds, for
example. These situations often call for role-playing
that steps outside the normal rules. Because they
are far less likely in the course of a normal game, we
recommend using the normal recuperation rules and
dealing with these situations as they come rather
than creating elaborate house rules for recuperation.
On the other hand, if your game does feature heavy
resource management in terms of maintaining health
and energy, by all means, set up a house rule to cover
the particulars of your situation.
3.6.10 Giving out Experience

There are several algorithms for granting experience
points to players. Which one you choose (or how
much of each you use) is dependent on how you want
to pace your game.
The first method is a fixed amount of experience per
session. While this method doesnt take into account
the struggles of the players, or how well they did in the
session, it does provide a very stable and predictable
pattern, making it easier to plan the future challenges
of the game. By specifying a number of experience
points per session, you can easily tell how powerful
the players will be in any number of sessions.
The opposite method is to grant players experience
points only when they have accomplished their goals.
This method heavily reinforces forward movement
of the plot, but it can be difficult to plan for how
powerful the characters are in a given number of
sessions. Its best to prepare games using this method
in a story-driven fashion, rather than a time-driven
fashion, so that the players are encountering
challenges that are based on their recent successes (or
failures) rather than how long theyve been playing.
Most of the time, youll probably find yourself using
a bit of both. This middle way is useful for having a
decent plan of how far and how long the game should
be, while maintaining the ability to reward players
specifically for actions in the game.
Characters require 13 Experience Points to level up, so
you can use this number to calculate how many points
to give out each session to reach a given Level in a
given number of sessions. As a baseline, we suggest
an average of 3 Experience Points per session. This
means that if you play weekly, the characters will

reach Level 9 (enlightenment, the end of normal
play and the beginning of Epic play) in about 40
sessions, or about a year. Players will attain a new
Level about every 4 sessions at this rate.
characters who get stronger after each fight, rather

than getting weaker.
Because theres constant growth for players and

relatively few Levels to achieve, you may want
to make sure that you dont give out too many
experience points per session, or youll be running
a game with characters who are battling gods in a
couple months or so. Remember, even at 3 points
per session, players are essentially leveling up (in
the typical RPG way) every session, by selecting new
Skills, Attributes, and Traits.
You can also think of that 3 Experience per session
as a sort of five-star rating, with 3 being the average.
As you run the game, you can award extra points
for good play or revoke points for slowing the
game down, giving the players incentive to keep
the game moving.
Keep in mind that the story doesnt necessarily have
to end at 9th Level. The next section covers play
above Level 9.
3.6.11 Beyond Enlightenment

There are in fact Levels beyond 9. The scale of the
cosmos goes all the way up to level 18, double the
normal progression. Only the absolute greatest of the
great kami and foreign gods attain these dizzying
heights of power. Many of the well-known kami fill
the Levels between 9 and 18, along with the many
spirits of the High Heavenly Plain.
Its not impossible for humans to attain enlightenment
and keep adventuring. Beyond Level 9 is considered
Epic, usually operating on a distinctly different set
of challenges and problems. Most of the time the
adversaries of these adventures will be kami, powerful
yokai, and awakening yajuu. Adventures will often
take the players out of Kyokutou and into the Spirit
World, Yomi, and the High Heavenly Plain.
While the mechanics do not change, Epic play can be
difficult to handle due to the sheer amount of power
available to characters of that Level. Were dealing
with several hundreds of Points to play with, and
40 to 70 individual traits. Most of the time, youll
find that the most difficult challenges for the players
will be other entities of similar Level, that
can fight and maneuver at the same ability.
61
Cosmic, existential problems with the universe

also come up.
Epic play is also a good place to introduce new
Skills and Traits, since at these Levels, the Players
may be buying up entire Skills wholesale.
You can even go higher than Level 9 if you really
want; the game mechanics and math technically
support a game of any Level, though you may
62
have to invent some more Skills and Traits for the

players to spend their immense point pools on. Since
the cosmological characters dont go past Level 18,
youll have to invent entirely new regimes of power
to investigate.
Keep in mind that not every game has to go into
Epic play, and that Enlightenment is a fine goal for
most stories.
This project would not have been possible without

the support of one hundred awesome people. Id like
to take a moment here at the end of the Kickstarter
version of Wasuremonogatari to thank everyone who
contributed to the project.
Colleen, Robert Bowers, David A Cherry, Wade
Geer, Wayne Pillion, Trip the Space Parasite, Sleet,
Michael Hahn, David Terhune, Raechel Coon, Borna
Pekaric, alan bush, Simon Christensen, Lee Jones,
Aaron J Cutler, D Howard, Laurent Patillon, Tyler
Marcoz, Flint Olsen, Jaime Robertson, Nicholas
Down, Morte Oakley, Alton C. Capps, Seamus Moffat,
paranoidkitten, Bae Nam-Gyu, John Doyle, Mechafox,
oeki, novamarauder, Andrew Geneczko, Jere
Manninen, JH, grant foster, Josue Garcia-Ocampo,
Argok, Weylin Etra, Kawika Myers, John H. Donahue,
Brian Wilson, matthew t arnold, Stereontario,
Mourterou Thibault, Coyotekin, Arjan van der Meer,
Travis Stone, Dios K, Adam, Kayla Potter, Draug,
Ghost DM, JohnGabriel Azriel C Utanes, Wesley
Dryden, Owen May, David B. Talton Jr., Kenny, Steven
4 A Special Thanks
Lord, Super Grumpy Cat 64, Jon Lee Strough,

Gavin Shito, Nayim Faitoury, Max Walln,
Zackary Richardson, DojiStar, Justin Roy, Edsel,
Brian Allred, Markus Kostarczyk, Austin Stanley,
nicholas, Jack Gulick, Zork, saodhar, Sakashi Lin,
John Kelbaugh, Jakob Asplund, Dregam, Stephan
Szabo, Svend Andersen, Alexander R. Corbett,
Ryan Darge, Tiff, DrewSouth, Andrea Martinelli,
Jonathan Shaver, Jared Goodwater, Jason Leisemann,
Jared Buckley, Steven Chin, Kevin Keller, Michael
Kueberth, Timothy Newman, Rafael Angel Lopez IV,
Brandon Schimmel, Pineapple Steak, Clayton Culwell,
Flash Hammer Creative Studios, Michael Feldhusen,
Oscar Ulloa, Derek Allgire, Peter Phillips, JustChris,
Jerilynn Bush, and Thomas Haymes.
Lastly, Id like to thank my wife, Elizabeth, whos
idea this world ultimately stemmed from. Had it not
been for one fantastic game she ran for me, none of us
would be here, reading this.
See you all soon, in the land of Kyokutou.
63

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1

andrew provencher (order #7486589)

2.4.2. Battle Skills

2.4.3. Magic Skills

2.4.4. Professional Skills

2.4.5. Tactical Skills

1.1 The Do of Role-playing

1.2 What You Need

1.3 The Name

1.4 Game Themes

1.5 The Open World

2. The Scroll of Laws

2.6.2 Rule of Drama

2.6.4 Role-playing the Dice

2.6.5 The Outcome

2.1.1 Character Based Rules

10 2.7. Rolling Dice

2.2.1 The Same Page

2.7.2 Zero Points

2.2.5 Social Rank & Profession

2.8.3 Attacking and Defending

2.8.4 Taking Damage

2.8.5 Knock Out

2.8.6 Role-playing Stunts

2.8.7 Teamwork Stunts

2.8.8 Combo Stunts

2.8.10 Equipment Bonuses

2.8.11 Miscellaneous Bonuses

26 2.9. Out of Combat

2.9.2 Professional Skills

2.9.3 Tactical Skills

2.2. Character Creation

2.4.1 Skill List

andrew provencher (order #7486589)

3.5.3 Recurring Adversaries

3.5.4 Staying Fresh

2.9.6 Unopposed Actions

3.5.5 Ending the Game

2.9.7 Social Interactions

3.5.6. Adventure Seeds

45 3.6. Rules & Mechanics

3.6.1 The Golden Rule

2.10.1 Acquiring Experience

3.6.2 Calling for Skill Rolls

2.10.2 Using Experience Points

2.10.3 Recalculating Stats

3.6.3 Opposed and

2.10.4 Leveling Up

3.6.4 Taking Three

3.6.5 Untrained Rolls

3.6.6 Stunts and bonuses

3.2. Play Styles

3.6.7 Critical Bonuses

3.6.8 Using Traits

3.6.10 Giving out Experience

3.6.11 Beyond Enlightenment

2.10. Character Progression

3. The Scroll of Mastery 47

3.2.1 Hard and Fast

3.2.2 Meticulous Detail

3.2.3 The Middle Way

3.2.4 The Comedy

3.2.5 Playing Small

2.4.2. Battle Skills

2.4.3. Magic Skills

2.4.4. Professional Skills

2.4.5. Tactical Skills

1.1 The Do of Role-playing

1.2 What You Need

1.3 The Name

1.4 Game Themes

1.5 The Open World

2. The Scroll of Laws

2.6.2 Rule of Drama

2.6.4 Role-playing the Dice

2.6.5 The Outcome

2.1.1 Character Based Rules

10 2.7. Rolling Dice

2.2.1 The Same Page

2.7.2 Zero Points

2.2.5 Social Rank & Profession

2.8.3 Attacking and Defending

2.8.4 Taking Damage

2.8.5 Knock Out

2.8.6 Role-playing Stunts

2.8.7 Teamwork Stunts

2.8.8 Combo Stunts

2.8.10 Equipment Bonuses

2.8.11 Miscellaneous Bonuses

26 2.9. Out of Combat

2.9.2 Professional Skills

2.9.3 Tactical Skills

2.2. Character Creation

2.4.1 Skill List

3.5.3 Recurring Adversaries

3.5.4 Staying Fresh

2.9.6 Unopposed Actions

3.5.5 Ending the Game

2.9.7 Social Interactions

3.5.6. Adventure Seeds

45 3.6. Rules & Mechanics

3.6.1 The Golden Rule

2.10.1 Acquiring Experience

3.6.2 Calling for Skill Rolls

2.10.2 Using Experience Points

2.10.3 Recalculating Stats

2.10.4 Leveling Up

3.6.4 Taking Three

3.6.5 Untrained Rolls

3.6.6 Stunts and bonuses

3.2. Play Styles

3.6.7 Critical Bonuses

3.6.8 Using Traits

3.6.10 Giving out Experience

3.6.11 Beyond Enlightenment

2.10. Character Progression

3. The Scroll of Mastery 47

3.2.1 Hard and Fast

3.2.2 Meticulous Detail

3.2.3 The Middle Way

3.2.4 The Comedy

3.2.5 Playing Small

3.3. Involving the Players

3.3.2 Integrating the Backgrounds

3.3.3 Directing Without Dictating

3.3.4 Rolling with the Punches

3.4.2 Interesting Monsters

3.4.4 Anti-Villains & Anti-Heroes

3.4.5 True Evil

3.4.6 Winning and Losing

3.4.7 Maintaining Suspense

3.5.1 Building Plot Lines

3.5.2 Increasing Challenges

3.4.1 Believable Motives

2.9.4 Magic Skills